THE  VICTROLA  IN  AMERICANIZATION 


3 


•  Foreword 


Americanization  Through  Music 


Every  patriotic  American  of  whatever  ancestry,  realizes  now  as  never  before  the 
beds  of  the  amalgamation  of  all  the  people  into  a  national  unity  of  calm,  sane,  un- 
Iverving  loyalty,  and  awaking  all  the  people  to  a  realization  of  the  responsibilities  of 


H  eir  American  citizenship. 

|  There  is  no  medium  so  attractive,  sure  and  efficacious  for  this  need  as  Music.  There 
i  nothing  so  universal  in  its  appeal  as  Music.  Through  Music ,  we  can  meet  every 
lewcomer  on  common  ground,  and  through  it  we  can  touch  the  magic  chord  of  their  love 
■  their  folk-arts,  and  by  leading  them  to  a  knowledge  of  American  songs  and  dances, 
■ring  them  to  an  appreciation  of  American  ideals,  sentiment,  institutions,  and  history. 

This  work  may  be  carried  on  through  four  distinct  avenues: 

1 .  Hearing  much  music  of  other  lands,  forming  a  basis  of  contact  and  understanding. 

2.  Community  Singing: 

(a)  Songs  of  the  Birthland  of  Newer  Citizens 

(b)  Singing  English  Translations 

(c)  American  Folk  and  Patriotic  Songs. 

3.  Dances  of  America  and  Other  Lands: 

(a)  Recognized  and  approved  as  valuable  and  healthful  exercise 

(b)  Learning  American  Country  Dances. 

I  4.  Music  of  Epochs  of  American  History: 

(a)  Meaning;  significance. 

The  Victrola  can  serve  as  nothing  else  can  in  each  of  these  four  fields.  In  the  first, 
|ur  catalogue  furnishes  an  unparalleled  list  of  the  choicest  music  of  every  country  of 
lie  Old  World,  sung  and  played  by  the  greatest  artists  in  all  history,  oftimes  using  native 
Instruments  and  characteristic  effects  which  make  an  instant  appeal  to  the  people  from 
Inose  countries. 

This  wealth  of  music  can  be  conveyed  to  our  own  people,  in  no  other  way  at  once 
|o  practically  and  also  artistically  as  through  the  Victrola  and  our  matchless  Victor 
Records,  and  in  no  other  way  can  it  be  turned  so  quickly,  surely,  and  attractively  into 
Instant,  workable  material  for  this  great  Americanization  movement. 

In  Community  Singing  there  are  long  lists  of  folk  and  patriotic  songs  from  many 
lands,  most  of  which  are  obtainable  with  English  words.  Our  band  records  for  Commu¬ 
nity  Singing  give  a  splendid  list  of  our  own  familiar  and  patriotic  songs  with  strong 
[iccompaniment  phrased  perfectly  for  singing.  The  cornets  seem  actually  to  say  the 
Lords,  as,  indeed,  the  players  did  before  playing.  These  have  formed  the  very  back¬ 
bone  of  our  work  in  the  recent  national  and  state  drives  for  the  advancement  of  education. 

Among  the  Folk  Dances  there  are  records  of  a  hundred  or  more,  representing  the 
i.ncient  play  spirit  of  all  peoples,  to  which  we  have  added  over  thirty  of  the  old  colonial 
[  ountry  dances  of  our  own  early  period  of  development.  All  these  are  danced  in  groups 
[—simple,  hearty,  communal. 

Almost  every  epoch  of  American  history  has  been  marked  by  Music.  We  have  the 
music  of  these  epochs,  too,  beautifully  recorded  with  the  utmost  fidelity  to  historical 
Lignificance.  It  is,  then,  with  a  sense  of  rendering  a  distinct  service  to  a  great  national 
|  ause  that  we  send  out  this  little  brochure  in  the  same  spirit  with  which  we  turned  almost 
pur  entire  plant  into  war  work  in  the  hour  of  our  country’s  need,  and  we  sincerely  hope 
ihat  it  may  contribute  a  mite  to  the  needs  of  these  reconstruction  days. 


FRANCES  ELLIOTT  CLARK,  Director, 

«  r  _  Victor  Educational  Department. 


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THE  VICTROLA  IN  AMERICANIZATION 


Children  of  Eleven  Nationalities  Singing  the  Shoemaker  Song 


THE  VICTROLA  IN  AMERICANIZATION 


5 


The  Victrola  in  Americanization 
Salute  to  the  Flag 

“I  pledge  allegiance  to  my  flag  and  to  the  Republic  for  which  it  stands, 
one  nation  indivisible,  with  liberty  and  justice  for  all.” 

A  great  movement  is  now  sweeping  the  country  to  bring  securely  into  the  fold  of 
American  citizenry  our  adopted  brothers  from  other  lands — to  make  firm  and  lasting 
the  ties  that  bind  them  to  their  new  homeland.  This  movement  is  known  as  “American¬ 
ization”  or  “Better  Citizenship.”  It  signifies  a  desire  to  inculcate  an  “understanding 
and  use  of  the  English  language,  in  a  comprehension  of  the  fundamental  ideals  and 
meaning  of  American  life,  citizenship,  and  institutions,  and  in  a  genuine  allegiance  to 
the  principles  upon  which  the  Government  of  the  United  States  is  founded.” 

The  first  impetus  to  this  movement  was  given  in  1914,  when  the  United  States 
Bureau  of  Education  established  the  Division  of  Immigrant  Education  to  devise  ways  and 
means  to  acquaint  our  foreign  born  with  the  language,  customs,  manners,  laws,  and  ideals 
of  America. 

America’s  participation  in  the  Great  War  threw  a  new  light  upon  the  situation, 
and  gave  a  clearer  and  broader  meaning  to  the  movement.  It  brought  out  as  nothing  else 
could  the  great  national  disgrace  of  ignorance,  illiteracy,  and  unassimilation.  The 
social  unrest  that  has  followed  the  ending  of  the  war  has  brought  in  still  stronger  relief 
the  need  for  national  unity — a  unity  of  language,  of  ideals,  of  purpose,  of  national  pride 
and  love  of  country. 

Following  the  splendid  pioneer  endeavors  of  the  Division  of  Immigrant  Education, 
the  work  of  Americanization  has  gradually  enlarged  and  ramnified  until  to-day  it  is 
one  of  the  outstanding  thoughts  occupying  American  minds  everywhere.  It  is  the  subject 
of  national  and  state  legislation.  It  has  been  accepted  by  the  entire  school  system  from 
the  kindergarten  to  the  university.  (The  University  of  Wisconsin  has  established  a  chair 
of  Americanization.)  Churches,  clubs,  boards  and  chambers  of  commerce,  employers, 
and  communities  everywhere  are  grasping  the  vision  and  are  seeing  the  need  of  working 
tirelessly  to  make  this  worthy  movement  bear  fruit. 

Realizing  that  the  process  of  Americanization  is  primarily  one  of  education,  and 
realizing  the  vital  force  that  the  modern  talking  machine  has  become  in  education, 
we  present  this  booklet,  prepared  in  the  same  broad  spirit  of  service  that  has  ever  char¬ 
acterized  the  educational  work  of  the  Victor,  to  show  just  how  the  Victrola  and  Victor 
Records  may  do  their  part  in  bringing  about  the  amalgamation  that  Americanization 
means. 

We  must  first  meet  the  foreign  born  on  some  common  ground  of  understanding. 
MUSIC  is  that  common  ground.  No  greater  truism  has  ever  been  formulated  than 
Longfellow’s  “Music  is  the  universal  language  of  mankind.”  It  is  the  language  of  the 
heart.  It  needs  no  interpreter.  It  speaks  in  words  intelligible  to  every  man,  no  matter 
what  his  native  tongue  may  be. 

A  Frenchman  recently  gave  his  conception  of  Americanization  in  part  as  follows : 
“Americanization  of  aliens  should  not  prove  difficult  if  you  go  about  it  in  the  right  way 
— if  you  appeal  to  the  only  thing  that  will  respond — the  heart.  ...  In  dealing 
with  different  races  you  must  appeal  to  that  which  is  dear  to  them.”  And  what  is  dearer 
to  them  than  their  rich  endowment  of  native  music  and  dances? 

True  Americanization  should  be  a  reciprocal  process  whereby  the  American  gives 
much  to  his  alien  neighbor  and  in  return  receives  much  of  great  worth.  The  Honorable 
Franklin  K.  Lane  in  an  address  on  What  America  Means  aptly  expresses  this  thought: 
“We  expect  the  man  to  search  out  his  immigrant  neighbor  and  say,  T  am  your  friend. 
Be  mine  as  well.  Let  me  share  in  the  wisdom  and  instruct  me  in  the  arts  and  crafts 
you  have  brought  from  strange  and  ancient  countries,  and  I  shall  help  you  to  succeed 
here.’  ”  And  in  that  spirit  of  broad  altruism  the  new  citizen  has  nothing  greater  to  give 
than  his  folk-arts :  music  and  the  dances. 


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THE  VICTROLA  IN  AMERICANIZATION 


We  should  encourage  him  in  his  pride  in  and  love  of  his  folk-arts.  We  should 
USE  that  love  to  attune  him  to  his  new  life.  And  THROUGH  IT,  by  comparison  and 
analogy,  bring  him  to  an  appreciation  of  American  ideals  as  expressed  in  our  music 
of  national  sentiment  and  patriotic  appeal,  and  thus  pave  the  way  for  an  understanding 
and  love  of  and  pride  in  all  things  American.  Mary  C.  C.  Bradford,  State  Superintendent 
of  Public  Instruction  in  Colorado  and  former  President  of  the  N.  E.  A.  has  beautifully 
expressed  this  thought.  “From  across  the  water  come  the  folk  songs  of  the  Green  Isle, 
of  the  lands  that  lie  beside  the  tawny  Tiber  and  from  the  summits  of  magical  Switzer¬ 
land;  England’s  border  ballads,  the  stirring  lilts  of  Scotland  and  the  famous  verse  of 
France.  Even  from  far-away  Russia  come  contributions  to  this  medley  of  world-music, 
while  Scandinavia,  and  Spain  too,  share  in  the  universal  chorus.  These  all  can  be 
contributed  by  those  members  of  the  household  born  overseas.  And  to  begin  and  end  with, 
the  great  chants  of  patriotic  fervor — the  historic  hymns  of  free  America,  to  which  her 
sons  have  marched  to  death  in  days  gone  by,  but  which  should  be  used  now  and  in  the 
future  to  stimulate  the  glorious  service  of  everyday  living  to  consecrate  the  thinking, 
working,  loving  of  a  real  civilization.’’ 

In  winning  the  attention,  confidence,  and  respect  of  the  potential  American  there 
is  no  greater  force  than  music.  Suppose,  for  instance,  it  is  desired  to  Americanize  an 
Italian  group  and  they  are  brought  together  for  social  work  or  instruction.  Play  for 
them  at  the  outset  some  such  song  as  Maria,  Mari  (record  74418)  or  Santa  Lucia  (record 
64663),  and  you  will  immediately  win  their  hearts,  and  go  far  in  opening  their  minds 
to  all  that  you  have  to  offer  in  the  rest  of  your  Americanization  program.  To  a  Russian 
group,  music  like  the  Volga  Boatman  (record  65147-A)  or  Moskou)  (record  65147-B) 
is  equally  appealing.  These  songs  are  known  and  loved  by  the  high  and  the  lowly  in 
their  respective  countries.  They  are  as  dear  to  their  hearts  as  Old  Black  Joe  and  Old 
Kentucky  Home  are  to  ours.  And  when  the  newcomers  see  that  we  know  and  appreciate 
their  heart-songs,  we  shall  have  gained  an  invaluable  sympathetic  means  of  approach.* 

The  Victor  General  Catalogue  is  rich  in  selections  of  a  like  nature  in  varied  languages, 
and  supplemented  by  the  domestic  foreign  record  catalogues  there  is  offered  an  exceedingly 
wide  range  of  recorded  music  that  appeals  to  the  foreign  born. 

Besides  all  the  English-speaking  countries,  the  Victor  serves  a  clientele  of  persons 
speaking  thirty-four  different  languages  and  dialects  with  records  in  their  native  language, 
played  on  native  instruments,  and  sung  or  played  by  native  artists. 

In  a  degree,  the  native  songs  in  a  foreign  language  are  not  in  accord  with  the  spirit 
of  the  quick  learning  of  English.  On  the  other  hand,  as  a  point  of  contact  and  as  factors 
in  keeping  the  newcomers  happy  and  satisfied  during  the  process  of  assimilation  they  are 
of  great  value;  but  they  should  be  sung  in  English  at  the  earliest  possible  moment. 

The  following  record  lists  of  representative  national  and  familiar  airs  of  foreign 
countries  are  suggestive  of  what  can  be  done  in  using  Victor  records  in  this  direction. 
(For  record  numbers  see  Index.)  (For  other  selections  see  the  Victor  Domestic  Foreign 
Record  Catalogue  for  the  nationality  in  question,  and  the  Victor  General  Catalogue 
under  “National  and  Patriotic  Airs.’’) 


ARGENTINE  REPUBLIC 
National  Hymn 

BELGIUM 

La  Brabanqonne 
(See  also  page  18.) 

BOHEMIA 

Kde  domoo  mu 
Hej,  Slovanel 


CANADA 

National  Airs 
Maple  Leaf  Forever 

CHINA 

Chinese  Airs 

CUBA 

National  Hymn 
Hymno  Invasor 


BRAZIL 

National  Hymn 
Brazil — National  Air 


DENMARK 

National  Air 
(See  also  page  18.) 


*  For  a  full  discussion  of  nationality  in  music,  see  What  We  Hear  in  Music  by  Anne 
Shaw  Faulkner.  (See  page  36.) 


THE  VICTROLA  IN  AMERICANIZATION 


7 


ENGLAND 

God  Save  the  King 
Rule  Britannia 
(See  also  page  18.) 

FINLAND 

Terve  Suomeni  Maa 
Iloa  ja  Surua 
(See  also  page  18.) 

FRANCE 

La  Marseillaise 
Au  Clair  de  la  Lune 
Bergere  Legere 
Marche  Lorraine 
Pere  de  la  Victoire 
Madelon 

(See  also  page  18.) 


NORWAY 

Norwegian  National  Hymn 
Norwegian  Mountain  March 
Han  Mass  Aa’n  Lasse 
Han  Ole 
Aa,  ola,  ola 
Astri,  mi  Astri 

POLAND 

Polish  Hymn 

Cracovienne  Fantastique 

Polonaise  Militaire 

Mazurka 

Krakpwiak 

(See  also  page  18.) 

PORTUGAL 

National  Hymn 


GREECE 

National  Hymn 


ROUMANIA 

National  Air 


HAWAII 

Hawaii  Ponoi 
Aloha  Oe 

HOLLAND 

Dutch  Folk  Songs 

HUNGARY 

Czardas 

Old  Hungarian  Airs 

IRELAND 

Wearing  of  the  Green 
(See  also  page  18.) 


RUSSIA 

Marche  Slave 
Mother  Moscow 
Volga  Boat  Song 
Molodka 
Vanka 

(See  also  page  18.) 

SCOTLAND 

The  Campbells  are  Cornin' 
Battle  of  Killiecrankie 
Will  Ye  No  Come  Back 
Scots  Wha’  Hae 
(See  also  page  18.) 


ITALY 

0  Sole  Mio 
Maria,  Mari 
Funiculi,  Funicula 
Santa  Lucia 
Garibaldi’s  Hymn 
Addio  a  Napoli 
Royal  March 
(See  also  page  18.) 

JAPAN 

National  Air 


LITHUANIA 

National  Hymn 

MEXICO 

National  Hymn 

MONTENEGRO 
National  Air 


SERBIA 

Rise  Serbians 

SLOVAKIA 

Nad  Tatron  sa  blyska 
Domovini  ( Slovene ) 

SPAIN 

Mi  Bandera 
Viva  la  Pilar ica 

SWEDEN 

National  Airs  of  Sweden 
Swedish  Wedding  March 
Marschlek 
From  Oles  Polska 
(See  also  page  18.) 

TURKEY 

Marche  ( Old  Sultan’s  regime ) 
Turkish  Air  ( Reform  regime ) 


In  using  our  own  “folk”  or  home  songs  and  patriotic  songs  in  Americanization 
group  work,  the  words  should  be  written  plainly  on  a  blackboard,  thrown  on  a  screen, 
or  printed  on  slips  of  paper,  so  that  through  the  songs  the  use  of  the  new  language  may 
be  expedited. 

Music  appeals  to  all.  It  lifts  the  tired  worker  above  his  weariness  and  grind,  above 
his  sordid  count  of  the  daily  stipend,  above  his  oftimes  sullen  antagonism  to  all  things. 
It  lifts  him  into  peace,  contentment,  hopefulness,  joy,  and  happiness,  which  attributes 
go  far  toward  making  him  a  better  worker,  a  better  citizen,  a  better  man  or  a  better 
woman,  mentally,  morally,  and  spiritually. 


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THE  VICTROLA  IN  AMERICANIZATION 


Community  Singing  in  Americanization 

The  Detroiter ,  the  official  organ  of  the  Detroit  Board  of  Commerce,  has  named 
as  one  of  the  salient  features  of  Americanization  the  “preparation  of  the  individual 
for  larger  expression  of  himself  in  his  home,  in  his  work,  and  in  his  community.”  Any¬ 
thing  that  will  promote  that  “larger  expression”  is  a  worthy  force  and  should  receive 
all  the  encouragement  which  it  merits.  The  inspirational  service  of  song  in  winning 
the  war  is  now  a  matter  of  history.  Singing  sustained  the  morale  of  our  troops  and 
engendered  enthusiasm  among  the  people  at  home,  upon  whom  the  soldiers  depended. 

Now  that  peace  is  again  with  us,  the  community  singing  idea  must  not  die  out.  It 
can  still  be  productive  of  immeasurable  good.  Patriotism  should  not  be  a  mere  concomi¬ 
tant  of  war,  for  there  are  situations  facing  us  to-day  that  demand  just  as  clear  and  staunch 
patriotic  devotion  as  those  of  war. 

Industry  is  rapidly  realizing  the  force  for  good  that  music,  particularly  song,  can  be 
among  the  workmen,  and  shop,  factory,  and  store  sings  are  often  being  conducted  during 
the  noon-hour. 

Nothing  is  more  unifying  and  democratic  than  the  group  singing  of  old  familiar  and 
patriotic  songs.  Let  us  read  of  the  great  service  of  song  as  expressed  by  two  eminent 
authorities  in  the  fields  of  music  and  education.  Mr.  James  Francis  Cooke,  Editor  of 
The  Etude,  has  said,  “with  massed  singing  come  smiles,  enthusiasm,  new  life  interest, 
healthy  exercise,  fine  mental  drill  and  uplifting  soul  experiences.  ...  It  makes  for  a 
common  understanding  between  bob  and  nabob.  ...  A  good  healthy  sing  has 
a  purifying  effect.  It  gets  you  closer  to  your  fellow-man.  It  makes  for  real  democracy. 
It  makes  Bolshevism  difficult,  if  not  impossible.  Not  to  be  identified  with  this  great 
movement  is  to  neglect  one  of  the  really  useful  and  beautiful  things  bequeathed  to  us  by 
the  great  war.  Not  until  you  have  forgotten  class  and  realized  the  true  brotherhood  of 
man  will  you  in  this  age  be  able  to  take  up  the  huge  job  that  confronts  us.”  And  Mary 
C.  C.  Bradford,  Colorado  State  Superintendent  of  Public  Instruction,  believes  that  “the 
songs  of  a  people  dominate  their  emotions,  transform  their  decisions  and  exalt  the  minds 
of  a  race.  The  setting  to  music  of  the  secret  aspirations  of  the  soul  and  the  noblest 
standards  of  everyday  living  re-acts  upon  the  inner  and  the  outer  life  of  the  people  so 
expressing  themselves,  and  the  days  that  are  thus  attuned  to  harmony  with  domestic  duty 
and  civic  devotion  will  yield  no  hours  in  which  to  listen  to  the  challenge  of  lesser  aims.” 

With  the  Victrola,  this  vital,  moving  force  may  be  always  at  hand  awaiting  only  to  be 
evoked  at  will  to  give  out  its  great  message  of  peace,  contentment,  and  joy.  Such  songs 
as  the  following  may  be  sung  with  stirring  band  accompaniment  that  is  strong,  correct, 
and  inspiring. 


My  Old  Kentucky  Home  (Stephen  Foster)  (2)  Battle  Hymn  of  the 
Republic  (Julia  Ward  Howe)  Victor  Band 

Believe  Me,  If  All  Those  Endearing  Young  Charms  (Moore) 

(2)  Home,  Sweet  Home  (Payne-Bishop)  (From  Community 
Songs — C.  C.  Birchard  Co.)  Victor  Band 


18145 


At  the  time  the  movement  was  inaugurated  to  advance  National  Community  Sing¬ 
ing  by  encouraging  general  singing  in  the  home,  school  and  public  gatherings,  the  National 
Conference  of  Music  Supervisors  adopted  a  list  of  eighteen  songs,  and  arranged  standard 
versions  for  informal  chorus  singing. 


In  order  to  stimulated  this  movement,  the  Victor  offers  a  series  of  band  accom¬ 
paniments  to  well-known  songs.  Following  the  approved  arrangements  of  the  songs, 
the  cornet  sings  the  melody  in  correct  phrasing,  pitch  and  tempo,  with  adequate  support 
by  the  rest  of  the  band.  Two  selections  are  given  on  each  face  of  the  record. 


THE  VICTROLA  IN  AMERICANIZATION 


9 


My  Old  Kentucky  Home 
The  sun  shines  bright  in  the  old  Kentucky 
home, 

’Tis  summer,  the  darkies  are  gay; 

The  corn-top’s  ripe  and  the  meadow’s  in  the 
bloom. 

While  the  birds  make  music  all  the  day. 

The  young  folks  roll  on  the  little  cabin  floor. 

All  merry,  all  happy  and  bright; 

By’m-by  hard  times  comes  a-knocking  at  the 
door, 

T  hen  my  old  Kentucky  home,  good  night! 

CHORUS 

Weep  no  more,  my  lady, 

O  weep  no  more  to-day! 


(Key  of  G) 

We  will  sing  one  song  for  the  old  Ken¬ 
tucky  home. 

For  the  old  Kentucky  home,  far  away. 

They  hunt  no  more  for  the  ’possum  and  the 
coon. 

On  the  meadow,  the  hill  and  the  shore; 
They  sing  no  more  by  the  glimmer  of  the 
moon. 

On  the  bench  by  the  old  cabin  door. 

The  day  goes  by  like  a  shadow  o’er  the  heart. 
With  sorrow  where  all  was  delight; 

The  time  has  come  when  the  darkies  have  to 
part. 

Then  my  old  Kentucky  home,  good  night! 

— Stephen  Foster 


Battle  Hymn  of  the  Republic  (Key  of  B  Flat) 


Mine  eyes  have  seen  the  glory  of  the  coming 
of  the  Lord; 

He  is  trampling  out  the  vintage  where  the 
grapes  of  wrath  are  stored; 

He  hath  loosed  the  fateful  lightning  of  His 
terrible  swift  sword; 

His  truth  is  marching  on. 

CHORUS 

Glory!  Glory!  Hallelujah! 

His  truth  is  marching  on! 

I  have  seen  Him  in  the  watch-fires  of  a  hun¬ 
dred  circling  camps; 

They  have  builded  Him  an  altar  in  the  even¬ 
ing  dews  and  damps; 

I  have  read  His  righteous  sentence  by  the 
dim  and  flaring  lamps; 

His  day  is  marching  on. 

I  have  read  a  fiery  gospel  writ  in  burnished 
rows  of  steel — 


“As  ye  deal  with  My  contemners,  so  with 
you  My  grace  shall  deal”; 

Let  the  Hero,  born  of  woman,  crush  the 
serpent  with  His  heel. 

Since  God  is  marching  on. 

He  has  sounded  forth  the  trumpet  that  shall 
never  call  retreat; 

He  is  sifting  out  the  hearts  of  men  before  His 
judgment-seat; 

Oh!  be  swift,  my  soul,  to  answer  Him!  be 
jubilant,  my  feet! — 

Our  God  is  marching  on. 

In  the  beauty  of  the  lilies  Christ  was  born 
across  the  sea. 

With  a  glory  in  His  bosom  that  transfigures 
you  and  me; 

As  he  died  to  make  men  holy,  let  us  die  to 
make  men  free. 

While  God  is  marching  on. 

- — Julia  Ward  Howe 


Believe  Me  If  All  Those  Endearing  Young  Charms 


Believe  me  if  all  those  endearing  young 
charms 

Which  I  gaze  on  so  fondly  to-day, 

Were  to  change  by  to-morrow  and  fleet  in  my 
arms. 

Like  fairy  gifts  fading  away. 

Thou  wouldst  still  be  adored  as  this  moment 
thou  art. 

Let  thy  loveliness  fade  as  it  will. 

And  around  the  dear  ruin  each  wish  of  my 
heart 

Would  entwine  itself  verdantly  still. 

Home,  Sweet  Home 
Mid  pleasures  and  palaces  though  we  may 
roam. 

Be  it  ever  so  humble,  there’s  no  place  like 
home; 

A  charm  from  the  skies  seems  to  hallow  us 
there. 

Which,  seek  thro’  the  world,  is  ne’er  met  with 
elsewhere. 

CHORUS 

Home,  home,  sweet,  sweet  home. 

There’s  no  place  like  home. 

Oh,  there’s  no  place  like  home. 


(Key  of  F) 

It  is  not  while  beauty  and  youth  are  thine 
own. 

And  thy  cheek  unprofan’d  by  a  tear. 

That  the  fervor  and  faith  of  a  soul  can  be 
known. 

To  which  time  will  but  make  thee  more 
dear. 

Oh,  the  heart  that  has  truly  lov’d  never 
forgets. 

But  as  truly  loves  on  to  the  close; 

As  the  sunflower  turns  on  her  god  when  he 
sets. 

The  same  look  that  she  gave  when  he  rose. 

— Thomas  Moore 

(Key  of  E  Flat) 

I  gaze  on  the  moon  as  I  tread  the  drear  wild. 

And  feel  that  my  mother  now  thinks  of  her 
child; 

As  she  looks  on  that  moon  from  our  own 
cottage  door. 

Thro’  the  woodbine  whose  fragrance  shall 
cheer  me  no  more. 

An  exile  from  home,  splendor  dazzles  in  vain; 

Oh,  give  me  my  lowly  thatch’d  cottage  again; 

The  birds  singing  gaily  that  come  at  my  call; 

Give  me  them,  and  that  peace  of  mind, 
dearer  than  all. 

— John  Howard  Payne 


10 


THE  VICTROLA  IN  AMERICANIZATION 


Annie  Laurie  (Lady  John  Scott)  (2)  Love’s  Old  Sweet  Song 

(Bingham-Molloy)  Victor  Band 

Drink  to  Me  Only  With  Thine  Eyes  (Ben  Jonson)  (2)  Flow 
Gently,  Sweet  Afton  (Burns-Spilman)  (From  Community  Songs 
— C.  C.  Birchard  Co.)  Victor  Band 


18177 


Annie  Laurie 

Maxwelton’s  braes  are  bonnie. 

Where  early  fa’s  the  dew. 

And  ’twas  there  that  Annie  Laurie 
Gave  me  her  promise  true; 

Gave  me  her  promise  true. 

Which  ne’er  forgot  will  be. 

And  for  bonnie  Annie  Laurie 
I’d  lay  me  down  and  dee. 

Her  brow  is  like  the  snawdrift. 

Her  throat  is  like  the  swan. 

Her  face,  it  is  the  fairest 

That  e’er  the  sun  shone  one; 


Love’s  Old  Sweet 

Once,  in  the  dear,  dead  days  beyond  recall. 
When  on  the  world  the  mists  began  to  fall. 
Out  of  the  dreams  that  rose  in  happy  throng. 
Low  to  our  hearts  Love  sang  an  old  sweet 
song! 

And  in  the  dusk,  where  fell  the  firelight  gleam. 
Softly  it  wove  itself  into  our  dream. 

CHORUS 

Just  a  song  at  twilight. 

When  the  lights  are  low. 

And  the  flick’ring  shadows 


(Key  of  C) 

That  e’er  the  sun  shone  on. 

And  dark  blue  is  her  e’e, 

And  for  bonnie  Annie  Laurie 
I’d  lay  me  down  and  dee. 

Like  dew  on  th’  gowan  lying, 

Is  th’  fa’  o’  her  fairy  feet, 

And  like  winds  in  summer  sighing. 

Her  voice  is  low  and  sweet; 

Her  voice  is  low  and  sweet. 

And  she’s  a’  the  world  to  me. 

And  for  bonnie  Annie  Laurie 
I’d  lay  me  down  and  dee. 

— Lady  John  Scott 

Song  (Key  of  F) 

Softly  come  and  go; 

Tho’  the  heart  be  weary. 

Sad  the  day,  and  long 
Still  to  us,  at  twilight. 

Comes  Love’s  old  song. 

Comes  Love’s  old  sweet  song. 

Even  to-day  we  hear  Love’s  song  of  yore; 
Deep  in  our  hearts  it  dwells  for  evermore! 
Footsteps  may  falter,  weary  grow  the  way. 
Still  we  can  hear  it  at  the  close  of  day. 

So  till  the  end,  when  life’s  dim  shadows  fall. 
Love  will  be  found  the  sweetest  song  of  all. 

— J.  Clifton  Bingham 


Drink  to  Me  Only  With  Thine  Eyes  (Key  of  E  Flat) 

Ben  Jonson,  the  great  dramatist  of  England,  1574-1637,  wrote  this  poem,  called 
To  Celia. 

Drink  to  me  only  with  thine  eyes,  I  sent  thee  late  a  rosy  wreath. 

And  I  will  pledge  with  mine.  Not  so  much  hon’ring  thee. 

Or  leave  a  kiss  within  the  cup.  As  giving  it  a  hope  that  there 

And  I’ll  not  ask  for  wine;  It  could  not  withered  be; 

The  thirst  that  from  the  soul  doth  rise.  But  thou  thereon  didst  only  breathe. 

Doth  ask  a  drink  divine;  And  send’st  it  back  to  me. 

But  might  I  of  Jove’s  nectar  sip.  Since  when  it  grows,  and  smells,  I  swear, 

I  would  not  change  for  thine.  Not  of  itself,  but  thee. 


Flow  Gentle,  Sweet  Afton  (Key  of  A) 

This  is  one  of  the  most  beautiful  of  the  poems  of  Robert  Burns,  often  called 
Afton  Water ,  and  is  commemorative  of  his  great  love  for  “Highland  Mary.” 


Flow  gently,  sweet  Afton,  amang  thy  green 
braes: 

Flow  gently.  I’ll  sing  thee  a  song  in  thy  praise; 

My  Mary’s  asleep  by  thy  murmuring  stream. 

Flow  gently,  sweet  Afton,  disturb  not  her 
dream. 

Thou  stockdove,  whose  echo  resounds  from 
the  hill. 

Ye  wild  whistling  blackbirds  in  yon  thorny 
dell. 

Thou  green  crested  lapwing,  thy  screaming 
forbear, 

I  charge  you,  disturb  not  my  slumbering  fair. 


Thy  crystal  stream,  Afton,  how  lovely  it 
glides. 

And  winds  by  the  cot  where  my  Mary  resides! 

How  wanton  thy  waters  her  snowy  feet  lave. 

As,  gath’ring  sweet  flow’rets,  she  stems  thy 
clear  wave! 

Flow  gently,  sweet  Afton,  amang  thy  green 
braes. 

Flow  gently,  sweet  river,  the  theme  of  my 
lays: 

My  Mary’s  asleep  by  thy  murmuring  stream. 

Flow  gently,  sweet  Afton,  disturb  not  her 
dream. 


THE  VICTROLA  IN  AMERICANIZATION 


11 


Old  Folks  at  Home  (S.  C.  Foster)  (2)  Juanita  (Mrs.  Norton)  ) 

Conway’s  Band  1 1  o  c  i  g 

Old  Black  Joe  (Foster)  (2)  Massa’s  in  de  Cold,  Cold  Ground  ( 

(Foster)  Conway’s  BandJ 


Old  Folks  at  Home  (Swanee  River)  (Key  of  E  Flat) 


Way  down  upon  the  Swanee  Ribber, 
Far,  far  away, 

Dere’s  wha  my  heart  is  turning  ebber, 
Dere’s  wha  de  old  folks  stay; 

All  up  and  down  de  whole  creation. 
Sadly  I  roam. 

Still  longing  for  de  old  plantation. 

And  for  de  old  folks  at  home. 

CHORUS 

All  de  world  am  sad  and  weary, 
Ebrywhere  I  roam. 

Oh!  darkies,  how  my  heart  grows  weary. 
Far  from  the  old  folks  at  home. 


All  round  the  little  farm  I  wander’d 
When  I  was  young 

Den  many  happy  days  I  squander’d. 
Many  de  songs  I  sung; 

When  I  was  playing  wid  my  brudder. 
Happy  was  I. 

Oh!  take  me  to  my  kind  old  mudder, 
Dere  let  me  live  and  die. 

One  little  hut  among  de  bushes. 

One  dat  1  love. 

Still  sadly  to  my  mem’ry  rushes, 

No  matter  where  I  rove; 


When  will  I  see  de  bees  a-humming. 

All  round  de  comb? 

When  will  I  hear  de  banjo  tumming 
Down  in  my  good  old  home? 

— Stephen  C.  Foster 


Juanita  (Key  of  E  Flat) 


Mrs.  Norton’s  simple  and  charming  ballad  in  the  Spanish  style,  reminiscent  of  the 
early  days  in  California,  has  become  one  of  our  American  “folk  tunes.’’ 


Soft  o’er  the  fountain, 

Ling’ring  falls  the  southern  moon; 
Far  o’er  the  mountain. 

Breaks  the  day  too  soon! 


When  in  thy  dreaming. 

Moons  like  these  shall  shine  again. 
And  daylight  beaming 

Prove  thy  dreams  are  vain. 


In  thy  dark  eyes’  splendor. 

Where  the  warm  light  loves  to  dwell. 
Weary  looks,  yet  tender. 

Speak  their  fond  farewell! 


Wilt  thou  not,  relenting. 

For  thy  absent  lover  sigh. 
In  thy  heart  consenting 
To  a  prayer  gone  by? 


Nita!  Juanita! 

Ask  thy  soul  if  we  should  part! 
Nita!  Juanita! 

Lean  thou  on  my  heart. 


Nita!  Juanita! 

Let  me  linger  by  thy  side! 

Nita!  Juanita! 

Be  my  own  fair  bride! 

Mrs.  Norton 


Old  Black  Joe  (Key  of  D) 


Little  need  be  said  of  the  favorite  Old  Black  Joe>  one  of  Stephen  Foster’s  most  beloved 
songs,  which  may  well  be  called  an  American  folk  song.  It  is  known  all  over  the  world, 
having  been  translated  into  many  different  tongues  and  sung  in  many  lands. 


Gone  are  the  days  when  my  heart  was  young 
and  gay; 

Gone  are  my  friends  from  the  cotton  fields 
away; 

Gone  from  the  earth  to  a  better  land,  I  know, 

I  hear  their  gentle  voices  calling,  “Old  Black 
Joe!” 

CHORUS 

I’m  coming,  I’m  coming,  for  my  head  is 
bending  low; 


I  hear  those  gentle  voices  calling,  “Old  Black 
Joe!” 

Why  do  I  weep  when  my  heart  should  feel  no 
pain? 

Why  do  I  sigh  for  my  friends  come  not  again. 
Grieving  for  forms  now  departed  long  ago? 

I  hear  those  gentle  voices  calling  “Old  Black 
Joe!” 


— Stephen  C.  Foster 


12 


THE  VICTROLA  IN  AMERICANIZATION 


Round  de  meadows  am  a-ringing 
De  darkey’s  mournful  song. 
While  de  mocking  bird  am  singing. 
Happy  as  de  day  am  long. 
Where  de  ivy  am  a-creeping 
O’er  de  grassy  mound, 

Dar  old  massa  am  a-sleeping. 

Sleeping  in  de  cold,  cold  ground. 

CHORUS 

Down  in  de  cornfield 

Hear  dat  mournful  sound; 

All  de  darkeys  am  a-weeping, 
Massa’s  in  de  cold,  cold  ground. 


Massa’s  in  De  Cold,  Cold  Ground  (Key  of  D) 


I  cannot  work  before  to-morrow 
Cayse  de  tear  drop  flow; 

I  try  to  drive  away  my  sorrow. 
Pickin’  on  de  old  banjo. 


Wfe.n  de  ,autumn  leaves  were  falling, 
f  When  de  days  were  cold, 

Twas  hard  to  hear  old  masssa  calling, 
Cayse  he  was  so  weak  and  old. 

Now  de  orange  trees  am  blooming 
On  de  sandy  shore. 

Now  de  summer  days  am  coming, 
Massa  nebber  calls  no  more. 

Massa  make  de  darkeys  love  him, 

Cayse  he  was  so  kind; 

Now,  they  sadly  weep  above  him. 

Mourning  cayse  he  leave  dem  behind. 


— Stephen  C.  Foster 


Victor  Military  Band\  ,  7r  QA 
Victor  Military  Band/ 


America  (Samuel  F.  Smith-Henry  Carey) 

The  Red,  White  and  Blue  (David  T.  Shaw)  . _ _  ^ailu 

This  well-known  hymn  was  written  by  Samuel  Francis  Smith  in  February  1 832  and 
first  sung  at  a  celebration  in  the  Park  Street  Church,  Boston,  July  4,  1832.  Mr.  Smith 
found  the  old  air  of  GW  Save  the  King  m  a  book  of  German  songs  given  him  by  Lowell 
Mason  and  so  set  the  words  to  that  melody.  The  authorship  of  the  music  is  usually  ac¬ 
credited  to  Henry  Carey  ( 1690- 1743),  the  English  composer.  It  is  said  that  the  same  tune 
has  been  used  as  a  national  song  by  as  many  as  twelve  nations. 

The  familiar  words  of  the  poem  My  Country !  ’ tis  of  thee  are  known  to  all 

I  he  stirring,  patriotic  song.  The  Red,  White  and  Blue,  often  known  as  Columbia,  the 
0 em  oj  the  Ocean  first  made  its  appearance  in  print  in  1 843.  The  authorship  has  been 
credited  to  David  .  Shaw,  whose  words  are  said  to  have  been  set,  in  1832,  to  an  old 
English  song  called  Britannia,  the  Pride  of  the  Ocean .  There  are,  however,  good  reasons 
to  be heve  that  the  author  of  both  words  and  music  of  the  original  song  was  Thomas 
a  Becket,  whose  song  was  published  in  1843  in  Philadelphia.  This  is  in  the  same  pitch 
and  tempo  as  the  vocal  rendition  on  record  17578. 

The  star-spangled  banner  bring  hither. 

O’er  Columbia’s  true  sons  let  it  wave; 


O  Columbia,  the  gem  of  the  ocean. 

The  home  of  the  brave  and  the  free. 
The  shrine  of  each  patriot’s  devotion, 

A  world  offers  homage  to  thee. 

Thy  mandates  make  heroes  assemble. 
When  Liberty’s  form  stands  in  view; 
Thy  banners  make  tyranny  tremble. 

When  borne  by  the  red,  white  and  blue; 
When  borne  by  the  red,  white  and  blue. 
When  borne  by  the  red,  white  and  blue. 
Thy  banners  make  tyranny  tremble. 

When  borne  by  the  red,  white  and  blue 


—  —  ~ o  1.1  ouua  ic l  u  wave; 

May  the  wreaths  they  have  won  never  wither. 
Nor  its  stars  cease  to  shine  on  the  brave; 
May  the  service,  united,  ne’er  sever. 

But  hold  to  their  colors  so  true; 

The  army  and  navy  forever. 

Three  cheers  for  the  red,  white  and  blue; 
Three  cheers  for  the  red,  white  and  blue, 
Three  cheers  for  the  red,  white  and  blue. 
The  army  and  navy  forever. 

Three  cheers  for  the  red,  white  and  blue. 


The  Star-Spangled  Banner  (Francis  Scott  Key-Samuel  Arnold) 

(Arranged  by  the  Music  Section,  National  Education  Association) 

u  i  .  /t  tt  ,  •  __  Victor  Band}!  7581 

Hail  Columbia  (Jos.  Hopkinson-Professor  Phile)  (Arranged  by  the 

Music  Section,  National  Education  Association)  Victor  BandJ 

The  Star-Spangled  Banner  is  dear  to  the  hearts  of  all  Americans,  and  is  becoming 
more  and  more  recognized  as  our  National  Song.  The  words  were  written  by  Key  in  1 8 1 4 
while  he  was  detained  on  board  a  British  frigate,  and  watched  the  Stars  and  Stripes 
fly  undaunted  over  Fort  McHenry  during  twenty-four  hours  of  furious  bombardment 
On  September  14,  1914,  the  one  hundredth  anniversary  of  the  writing  of  The  Star- 
Spangled  Banner  was  celebrated,  and  events  which  have  since  occurred  have  created  a 
new  sense  of  patriotism,  and  have  redoubled  interest  in  our  favorite  national  air.  By 
act  of  Congress  this  has  now  become  the  official  national  song  of  the  Army  and  Navy. 


THE  VICTROLA  IN  AMERICANIZATION 


13 


In  an  effort  to  arrive  at  a  standardization,  the  Music  Section  of  the  National  Educa¬ 
tion  Association  in  1908  appointed  a  committee  to  arrange  four  of  the  songs  for  Con¬ 
gressional  action.  Their  report  was  adopted  in  Chicago,  1912,  and  later  by  the  Music 
Supervisors’  National  Association  and  by  the  National  Federation  of  Musical  Clubs, 
and  on  July  9,  1914,  was  adopted  by  the  main  body  of  the  National  Education  Associa¬ 
tion  at  St.  Paul,  which  presented  to  the  Bureau  of  Education  through  the  Honorable 
Secretary  of  the  Interior,  a  request  that  the  official  version  be  authorized  for  use  in  schools. 

The  only  material  change  in  The  Star-Spangled  Banner  occurs  in  the  sixth  measure 
and  its  repetitions.  None  of  the  commonly  used  versions  would  fit  all  stanzas  and  agree¬ 
ment  was  impossible  as  between  the  dotted  quarter,  eighth,  quarter  or  half  note,  two- 
eighths.  In  this  dilemma  the  committee  cut  the  Gordian  knot  by  looking  up  a  copy  of  the 
original  Anacreon  in  Heaven,  the  old  English  drinking  song  by  Samuel  Arnold,  and  dis¬ 
covered  that  in  the  old  tune  to  which  Key  set  his  immortal  words,  like  the  Irishman’s  “Not 
nither,  neether,  but  nayther,’’  it  was  three  plain  straight  quarter  notes  in  each  place. 
This  fits  all  stanzas  alike,  giving  evidence  that  this  form  was  used  by  Key. 

Oh,  say  can  you  see  by  the  dawn’s  early  light, 

What  so  proudly  we  hailed  at  the  twilight’s  last  gleaming. 

Whose  broad  stripes  and  bright  stars,  thro’  the  perilous  fight. 

O’er  the  ramparts  we  watched,  were  so  gallantly  streaming? 

And  the  rockets’  red  glare,  the  bombs  bursting  in  air. 

Gave  proof  thro’  the  night  that  our  flag  was  still  there. 

Oh,  say,  does  that  star-spangled  banner  yet  wave 
O’er  the  land  of  the  free  and  the  home  of  the  brave? 


On  the  shore  dimly  seen  thro’  the  mists  of  the  deep. 

Where  the  foe’s  haughty  host  in  dread  silence  reposes. 

What  is  that  which  the  breeze,  o’er  the  towering  steep. 

As  it  fitfully  blows,  half  conceals,  half  discloses? 

Now  it  catches  the  gleam  of  the  morning’s  first  beam. 

In  full  glory  reflected  now  shines  on  the  stream. 

’Tis  the  star-spangled  banner:  oh,  long  may  it  wave 
O’er  the  land  of  the  free  and  the  home  of  the  brave! 

Oh!  thus  be  it  ever  when  freemen  shall  stand 

Between  their  loved  home  and  the  war’s  desolation: 

Blest  with  vict’ry  and  peace,  may  the  heav’n  rescued  land 
Praise  the  Pow’r  that  hath  made  and  preserved  us  a  nation! 
Then  conquer  we  must,  when  our  cause  it  is  just. 

And  this  be  our  motto,  “In  God  is  our  trust!” 

And  the  star-spangled  banner  in  triumph  shall  wave 
O’er  the  land  of  the  free  and  the  home  of  the  brave! 


Hail  Columbia,  the  first  genuinely  American  song,  gets  its  melody  from  the  old  Presi¬ 
dent's  March ,  composed  by  Philip  Phile  in  1  789,  said  to  have  been  used  at  Washington’s 
Inauguration.  The  words  are  by  Joseph  Hopkinson,  and  were  written  by  him  in  1  789,  in 
Philadelphia.  At  that  time  England  and  France  were  at  war  and  frequent  violations  of 
American  rights  had  occurred  at  the  hands  of  each  warring  power,  and  for  a  time  it  was 
thought  this  country  would  become  involved.  Hail  Columbia,  which  was  sung  in  the 
theatres  at  that  time,  helped  kindle  the  fires  of  American  patriotism. 

At  605  Chestnut  Street,  Philadelphia,  a  bronze  tablet  commemorates  the  fact  that 
here,  a  short  distance  from  Independence  Hall,  stood  the  old  Chestnut  Street  Theatre, 
where  Gilbert  Fox  first  sang  Hail  Columbia,  on  April  25,  1  798. 

Hail,  Columbia!  happy  land! 

Hail,  ye  heroes!  heav’n-born  band! 

Who  fought  and  bled  in  Freedom’s  cause. 

Who  fought  and  bled  in  Freedom’s  cause. 

And  when  the  storm  of  war  was  gone. 

Enjoyed  the  peace  your  valor  won. 

Let  independence  be  our  boast. 

Ever  mindful  what  it  cost; 

Ever  grateful  for  the  prize. 

Let  its  altar  reach  the  skies. 


14 


THE  VICTROLA  IN  AMERICANIZATION 


CHORUS 

Firm,  united,  let  us  be. 
Rallying  round  our  liberty! 

As  a  band  of  brothers  joined. 
Peace  and  safety  we  shall  find. 


Immortal  patriots!  rise  once  more. 
Defend  your  rights,  defend  your  shore; 
Let  no  rude  foe  with  impious  hand. 

Let  no  rude  foe  with  impious  hand. 
Invade  the  shrine  where  sacred  lies. 

Of  toil  and  blood  the  well-earned  prize. 
While  offering  peace,  sincere  and  just. 

In  heav’n  we  place  a  manly  trust. 

That  truth  and  justice  shall  prevail. 
And  ev’ry  scheme  of  bondage  fail. 


Behold  the  Chief  who  now  commands. 
Once  more  to  serve  his  country  stands. 
The  rock  on  which  the  storm  will  beat. 
The  rock  on  which  the  storm  will  beat. 
But  armed  in  virtue,  firm  and  true. 

His  hopes  are  fixed  on  Heav’n  and  you. 
When  hope  was  sinking  in  dismay. 
When  gloom  obscured  Columbia’s  day 
His  steady  mind,  from  changes  free. 
Resolved  on  death  or  liberty. 


America  the  Beautiful  (2)  Stars  of  the  Summer  Night  ) 

Victor  Military  Band  { ,  atjn 

Speed  the  Republic  (2)  Onward,  Christian  Soldiers 

Victor  Military  BandJ 

Another  splendid  record  for  community  singing,  country  institutes,  Americanization, 
and  general  school  work  is  America  the  Beautiful.  The  poem  is  the  patriotic  tribute 
of  Katherine  Lee  Bates,  teacher  of  English,  Wellesley  College.  Several  settings  have 
been  made,  but  the  hymn  Materna,  by  Ward,  seems  to  be  the  favorite,  and  it  is  used 
everywhere  in  school  and  community  work.  The  leading  cornets  seem  to  say  the  words, 
and  singing  with  the  record  is  therefore  easy.  Stars  of  the  Summer  Night  has  long  been  a 
favorite  number  in  chorus  work.  The  words  are  by  Longfellow,  and  music  by  Woodbury. 
Keller’s  Speed  the  Republic  is  among  the  best  patriotic  songs  we  have.  There  are  two 
sets  of  words  in  common  use,  one  being  Oliver  Wendell  Holmes’  Angel  of  Peace,  the  other 
the  words  here  reprinted. 


America  the  Beautiful  (Key  of  D  Flat) 

O  beautiful  for  spacious  skies,  for  amber  waves  of  grain. 

For  purple  mountain  majesties  above  the  fruited  plain! 

America!  America!  God  shed  His  grace  on  thee. 

And  crown  thy  good  with  brotherhood  from  sea  to  shining  sea! 

O  beautiful  for  pilgrim  feet,  whose  stern  impassioned  stress 
A  thoroughfare  for  freedom  beat  across  the  wilderness! 

America!  America!  God  mend  thine  every  flaw. 

Confirm  thy  soul  in  self-control,  thy  liberty  in  law! 

O  beautiful  for  patriot  dream  that  sees  beyond  the  years 
Thine  alabaster  cities  gleam  undimmed  by  human  tears! 

America!  America!  God  shed  His  grace  on  thee. 

And  crown  thy  good  with  brotherhood  from  sea  to  shining  sea! 

Used  by  permission  of  the  author,  Katherine  Lee  Bates 


Stars  of  the  Summer  Night  (Key  of  E  Flat) 


Stars  of  the  summer  night. 

Far  in  yon  azure  deep. 

Hide,  hide  you.  golden  light, 

CHORUS 

She  sleeps,  my  lady  sleeps. 

She  sleeps,  she  sleeps,  my  lady  sleeps. 

Moon  of  the  summer  night 
Far  down  yon  western  steeps 
Sink,  sink  in  silver  light. 


She  sleeps,  my  lady  sleeps. 

She  sleeps,  she  sleeps,  my  lady  sleeps. 

Dreams  of  the  summer  night. 

Tell  her,  her  lover  keeps 
Watch,  while,  in  slumber  light, 

She  sleeps,  my  lady  sleeps. 

She  sleeps,  she  sleeps,  my  lady  sleeps. 


THE  VICTROLA  IN  AMERICANIZATION 


15 


Speed  the  Republic  (Key  of  F) 

Speed  our  Republic,  O  Father  on  high! 

Lead  us  in  pathways  of  justice  and  right: 

Rulers  as  well  as  the  ruled,  one  and  all. 

Girdle  with  virtue  the  armor  of  might! 

Hail,  three  times  hail  to  our  country  and  flag! 
Rulers  as  well  as  the  ruled,  one  and  all. 

Girdle  with  virtue  the  armor  of  might! 

Hail,  three  times  hail  to  our  country  and  flag! 

Rise  up,  proud  eagle,  rise  up  to  the  clouds! 

Spread  thy  broad  wings  o’er  this  fair  western  world! 
Fling  from  thy  beak  our  dear  banner  of  old. 

Show  that  it  still  is  for  freedom  unfurled! 

Hail,  three  times  hail  to  our  country  and  flag! 

Fling  from  thy  beak  our  dear  banner  of  old. 

Show  that  it  still  is  for  freedom  unfurled! 

Hail,  three  times  hail  to  our  country  and  flag! 


Onward,  Christian  Soldiers  (Key  of  E  Flat) 

Onward,  Christian  soldiers,  marching  as  to  war. 

With  the  cross  of  Jesus  going  on  before! 

Christ  the  royal  Master,  leads  against  the  foe: 
Forward  into  battle  see  His  banner  go. 

CHORUS: 

Onward,  Christian  soldiers,  marching  as  to  war. 

With  the  cross  of  Jesus  going  on  before. 

Like  a  mighty  army  moves  the  church  of  God: 
Brothers,  we  are  treading  where  the  saints  have  trod; 
We  are  not  divided,  all  one  body  we. 

One  in  hope,  in  doctrine,  one  in  charity. 

Onward,  then,  ye  people,  join  our  happy  throng. 
Blend  with  ours  your  voices  in  the  triumph-song; 
Glory,  laud,  and  honor  unto  Christ  the  King! 

This  thro’  countless  ages  men  and  angels  sing. 


TRAVELING  INSTRUCTION  LABORATORY  OF  THE  UNITED  STATES  BUREAU 
OF  COMMERICAL  ECONOMICS, 

showing  the  Victrola  as  a  faithful  ally  in  patriotic  community  work  during  the  war 


16 


THE  VICTROLA  IN  AMERICANIZATION 


Chinese  and  Japanese  Children  Dancing  the  Irish  Jig 


American  Indian  Children  Dancing  the  Swedish  Folk  Dance  “Reap  the  Flax” 

EXAMPLES  OF  THE  REAL  INTERNATIONAL  UNITY  OF  EXPRESSION  IN 

FOLK-ART 


THE  VICTROLA  IN  AMERICANIZATION 


17 


Folk  Dancing  in  Americanization 

Since  we  must  use  the  racial  culture  of  our  new  citizens  in  bringing  them  into  align¬ 
ment  with  things  American,  we  must  not  neglect  their  great  wealth  of  folk-art  that 
finds  expression  in  the  dance.  Miss  Elizabeth  Burchenal,  America’s  foremost  authority 

on  folk  dancing,  has  expressed  the  thought 
admirably  in  the  preface  to  her  book,  American 
Country  Dances.  “We  have  the  new  and 
dazzling  wealth  of  folk-art  brought  in  with  the 
comparatively  recent  rush  of  immigration  from 
many  countries,  the  beauty  and  value  of  which 
is  not  yet  generally  understood  or  appreciated. 
Surely,  the  folk  dances  and  music  of  all  the 
nationalities  which  make  up  the  people  of  our 
country  may  be  considered  ours  just  as  these 
people  are  our  people,  and  every  effort  should  be 
made  to  encourage,  preserve,  and  assimilate 
this  dancing  and  music,  so  that  we  may  not 
only  have  these  added  resources  for  social  en¬ 
joyment  and  recreation,  but  that  our  national 
life  may  be  enriched  with  beauty  and  color 
and  joy  of  living  which  may  become  the  founda¬ 
tion  of  a  yet  undreamed-of  development  of  art 
in  this  country.” 

Miss  Burchenal  has  cooperated  with  the 
Victor  Company  in  producing  many  representa¬ 
tive  folk  dances  of  foreign  countries,  as  well 
as  many  of  our  native  American  dances. 
There  is  no  more  pleasurable  or  more  potent  force  for  community  unification 
than  folk  dancing.  In  it  the  old  and  young,  the  foreign-  and  native-born  Americans 
may  come  together  in  the  spirit  of  play  and  vigorous  healthful  exercise.  At  such  gather¬ 
ings,  we  should  learn  the  old  dances  from  across  the  seas.  This  will  show  the  newcomer 
that  we  appreciate  his  art  and  amusements.  He  thus  will  forget  his  self-consciousness 
and  timidity.  He  will  enter  into  the  spirit  of  our  old  country  dances,  too,  and  from  it 
all  will  arise  a  mutual  understanding  of  the  unity  of  thought  and  motive  that  lies  behind 
all  such  folk  expression. 

The  following  list  of  European  and  American  folk  dances  will  be  found  of  great 
value  in  community  effort  of  this  sort.  As  an  integral  part  of  a  patriotic  pageant  or 
play  the  real  folk  dances  of  the  various  countries  represented  would  have  a  logical  place 
if  given  in  their  traditional  form.  Folk  dances  familiar  to  many  through  use  as  play 
and  recreation  mught  thus  be  fitted  into  a  patriotic  community  celebration.  The  folk 
dances  listed  here  are  actual  folk  dances  from  the  countries  represented,  and  they  would 
be  recognized  with  emotion  by  natives  of  these  countries.  For  descriptions  and 
illustrations  see  the  booklet  The  Vidrola  in  Physical  Education ,  Recreation  and  Play. 
(For  record  numbers  see  Index.) 


Miss  Burchenal  in  Flemish  Dress 


Arkansaw  Traveler 
Circle,  No.  I ,  The 
Circle,  No.  2,  The 
Dan  Tucker 

Green  Mountain  Volunteers 
Haste  to  the  Wedding 
Haymakers,  The 
Hull’s  Victory 
Lady  of  the  Lake 


AMERICAN 

Lamplighter’s  Hornpipe 
Magnolia  Reel 
Money  Musk  No.  1 
Money  Musk  No.  2 
Morning  Star 
Needle’s  Eye 
Old  Dan  Tucker 
Old  Zip  Coon 
Pop  Goes  the  Weasel 


Portland  Fancy 

Sailor’s  Hornpipe 

Soldier’s  Joy 

Speed  the  Plow 

Staten  Island 

Texarkana 

Virginia  Reels 

White  Cockade 

Young  America  Hornpipe 


18 


THE  VICTROLA  IN  AMERICANIZATION 


Chimes  of  Dunkirk 


Ace  of  Diamonds 
Crested  Hen 
Dance  of  Greeting 
Four  Dance,  The 
Hatter,  The 


Black  Nag 
Butterfly,  The 
Chelsea  Reach 
Confess 

Country  Dance 

Fine  Companion,  The 

Flamborough  Sword  Dance 

Gathering  Peascods 

Goddesses 

Grimstock 

Hey  Boys,  We  Up  Go 

Hornpipe 

Hunsdon  House 

If  All  the  World  Were  Paper 

Jamaica 


First  Polka 
Harvest  Dance 


Farandole 


Blackberry  Blossom 
Irish  Jig 

ITALIAN 

Tarantella 


Foursome  Ree 


BELGIAN 
Lott’  ist  Tod 

DANISH 

Little  Man  in  a  Fix 
Mallebrok 

Norwegian  Mountain  March 
Seven  Jumps 


ENGLISH 

Jenny  Pluck  Pears 
Jolly  is  the  Miller 
Kirkby  Malzeard  Sword 
Dance 

Lady  in  the  Dark 
Laudnum  Bunches 
London  Bridge 
Looby  Loo 
Mage  on  a  Cree 
Maypole  Dance  (Bluff  King 
Hal) 

Merry  Conceit 
Morris  Dances 
Mulberry  Bush 
Newcastle 


FINNISH 

Kyntnavspolska 


FRENCH 
French  Reel 


IRISH 

Irish  Lilt 
Rinnce  Fada 


POLISH 

Cracoviac 

SCOTTISH 
Highland  Fling 


Seven  Jumps 


Shoemaker’s  Dance 
Three  Dance 
Three  Men’s  Reel 
Tinker’s  Dance 


Oats,  Peas,  and  Barley  Beans 
Grow 

Old  Mole,  The 
Oranges  and  Lemons 
Parson’s  Farewell 
Ribbon  Dance 

Round  and  Round  the  Village 
Row  Well  Ye  Mariners 
Rufty  Tufty 
Sailor’s  Hornpipe 
Sellenger’s  Round 
Shepherd’s  Hey 
Sweet  Kate 
Three  Meet 

Tideswell  Processional  Morris 


Pretty  Sister-in-Law 


Parisian  Polka,  The 


St.  Patrick’s  Day 


RUSSIAN 

Kamarinskaia 


Highland  Schottische 


Bleking 

Carrousel 

Come  Let  Us  Be  Joyful 

First  of  May 

Fjalln&apolka 

Fryksdalspolska 

Gotl&nds 

Gustaf’s  Skal 

Hopp  Mor  Annika 


SWEDISH 

How  D’ye  Do,  My  Partner 

I  See  You 

Klappdans 

Kulldansen 

Kulldansen  No.  2 

Lassie  Dance 

Ma’s  Little  Pigs 

Nigareoplska 

Ostgotapolska 


Our  Little  Girls 
Oxdansen 
Reap  the  Flax 
Seven  Pretty  Girls 
Skanska  Quadrille 
Tantoli 
Vingakersdans 
Weaving  Dance 


THE  VICTROLA  IN  AMERICANIZATION 


19 


The  Victrola  in  the  Study  of  American  History 

One  of  the  first  steps  in  Americanization  should  be  to  lead  the  foreign-born  citizen 
to  understand  that,  with  the  exception  of  about  a  quarter  million  native  descendants 
of  North  American  Indians,  the  one  hundred  million  people  of  the  United  States  are  all 
either  foreign  born  or  descendants  of  foreign-born  ancestors.  They  must  be  helped  to  see 
that  our  sturdy  forefathers,  who  are  responsible  for  the  unshakable  foundations  upon 
which  this  great  republic  has  been  builded,  were  men  like  themselves,  who  three  centuries 
earlier  came  to  this  country  trying  to  better  their  condition  in  some  way,  or  seeking 
a  larger  measure  of  civic  or  religious  freedom  and  a  broader  field  of  activity  than  was 
offered  by  their  homeland.  These  people  brought  with  them  their  native  customs,  habits, 
language  and  high  purposes  from  which  have  survived  here  the  best  from  the  mother 
country  and  rich  contributions  from  other  lands.  These  compose  our  great  heritage 
of  American  ideals. 

A  knowledge  of  the  chief  epochs  of  American  history  will  do  much  to  Americanize 
(in  the  best  sense)  our  adopted  brothers.  It  will  lead  them  “to  enter  into  this  common 
heritage  of  the  best  of  all,  to  be  inspired  with  these  ideals,  to  learn  to  understand  the 
institutions  which  guarantee  our  freedom  and  rights  and  enable  us  all  to  work  together 
for  the  common  good,  to  resolve  to  forget  all  purely  selfish  means  for  the  work  of  the 
highest  welfare  of  our  country  and  of  the  world.” 

The  following  is  a  brief  sketch  of  American  history,  prepared  by  Mr.  Harold  D. 
Smith,  which  has  been  illuminated  and  vitalized  through  record  illustration.  With 
such  illustration,  a  study  of  the  outstanding  events  of  American  history  no  longer  be¬ 
comes  a  dry  recital  of  facts  and  dates,  but  a  living,  pulsating  story,  beautiful  and  artistic 
through  its  music  and  poetry — all  of  which  strikes  a  note  of  immediate  appeal  in  the 
artistic  heart  and  mind  of  the  new  American. 

The  study  of  American  history  usually  begins  with  the  voyages  of  the  Vikings, 
or  Norsemen.  Those  stalwart,  fair-haired  men  came  from  the  rugged  mountainous  coun¬ 
try  of  Norway.  Like  the  Phoenicians  of  old,  most  of  their  life  was  spent  on  the  sea 
in  their  galleys  with  carved  beaks.  Their  daring  seamanship  and  love  of  discovery 
made  them  true  “Lords  of  the  Waves.”  On  one  of  their  voyages  they  discovered  and 
settled  Iceland,  and  on  another,  Greenland. 

Over  nine  hundred  years  ago  there  lived  a  famous  King  of  Norway,  Olaf  Trygvason, 
who  holds  a  brilliant  place  in  the  sagas  and  traditions  of  the  Norse.  In  Longfellow’s 
Tales  of  a  Wayside  Inn  one  of  his  characters,  the  Musician  (who  in  real  life  was  Ole  Bull, 
the  Norwegian  violinist),  recites  The  Saga  of  King  Olaf.  Edvard  Grieg,  Norway’s 
greatest  composer,  once  began  an  opera,  Olaf  Trygvason,  founded  upon  the  story  of  the 
famous  King,  but  the  poet,  Bjornsen,  never  finished  the  text,  so  the  opera  was  never 
completed.  Some  of  the  numbers  from  this  work  were  arranged  by  Grieg  in  a  suite, 
and  these,  especially  the  fine  march,  are  often  heard  in  orchestral  concerts. 

The  principal  event  in  King  Olaf’s  life  was  his  conversion  to  Christianity  and  his 
abandonment  of  the  old  Norse  Gods,  Thor  and  Odin.  King  Olaf  is  said  to  have  sent  Leif 
the  Lucky,  son  of  Eric  the  Red,  to  carry  the  teachings  of  Christianity  to  his  father  in  the 
distant  colony  of  Greenland.  The  voyage  was  made  in  the  year  1000  A.  D.  An  Old 
document  relates  that  Leif  sailed  far  south  of  his  course  in  this  voyage  and  discovered  a  new 
land  which  he  christened  “Vinland,”  on  account  of  the  abundance  of  grapes  which  grew 
there.  The  new  country  which  he  discovered  is  generally  supposed  to  have  been  the 
coast  of  Canada,  and  the  Norsemen  are  thought  to  have  explored  the  coast  from  Nova 
Scotia  south  to  Long  Island. 

To  these  intrepid  rovers  of  the  sea  we  give  the  honor  of  the  first  European  discovery 
of  America.  Eaton  Fanning’s  Song  of  the  Vikings  (record  55055-B)  is  a  spirited  setting 
of  a  poem  by  Somerville  Gibney,  which  expresses  the  Norseman’s  natural  love  for  the 
deep,  his  joy  in  warfare,  and  his  remembrance  of  home  and  family  ties. 


20 


THE  VICTROLA  IN  AMERICANIZATION 


The  wind  is  blowing  from  off  the  shore. 

And  our  sail  has  felt  its  force. 

For  our  bark  bounds  forth  o’er  the  crested 
waves. 

As  a  wild  and  restive  horse. 

Our  sharp  prow  cleaves  the  billows 
And  breaks  them  into  spray. 

And  they  brightly  gleam  in  the  glad  sunlight. 
As  we  speed  upon  our  way. 

As  we  speed  upon  our  way. 

Lords  of  the  waves  we  are. 

Kings  of  the  seething  foam! 

Warriors  bold,  from  the  Northland  cold. 

Far  o’er  the  sea  we  roam; 

Far  o’er  the  sea  we  roam. 

Far  o’er  the  sea  we  roam. 

We  roam,  we  roam,  we  roam,  we  roam,  we 
roam! 

Lords  of  the  waves  we  are,  we  are,  we  are. 
Lords  of  the  waves  we  are! 


We  have  left  our  wives  and  our  sweethearts 
fair 

On  the  rock-encircled  strand. 

To  entreat  the  gods  to  watch  o’er  their  lovest 
And  to  bring  them  back  to  land. 

Each  day  they’ll  pray  to  heaven. 

Nor  will  they  pray  in  vain. 

For  the  gods  will  watch  o’er  our  sturdy  bark. 
And  will  guide  her  home  again. 

And  will  guide  her  home  again. 

To  our  oars  we  bend  with  a  right  good  will. 
And  all  sorrow  leave  behind; 

As  the  white-wing’d  gulls  which  around  us 
skim 

We  are  racing,  racing  with  the  wind. 

And  when  our  foes  are  vanquished. 

And  we  return  once  more. 

Oh,  the  welcome  glad  they  will  greet  us  with. 
As  we  gain  the  long’d  for  shore. 

As  we  gain  the  long’d  for  shore. 


Now  came  the  period  of  Spanish  discovery  and  exploration.  In  the  fifteenth  century 
the  rich  Catholic  nation  of  Spain  had  become  a  foremost  European  power.  If  it  stood 
foremost  intellectually,  this  was  due  to  the  influence  of  the  Moors,  the  last  of  whom 
were  expelled  from  their  Moorish  kingdom  of  Granada  in  1492.  To  the  Moors,  Spain 
owed  most  of  her  music,  which  was  transplanted  to  the  West  Indies,  and  mingled  with 
the  rhythmic  melodies  of  the  African  slaves,  assumed  the  form  of  the  Habanera.  One 
of  the  best  known  Habaneras  is  La  Paloma  (record  74379);  another  is  Tu-Habahera 
(record  64182).  When  Columbus  and  his  band  landed  on  San  Salvador,  they  gave 
thanks  to  the  Creator  in  singing  a  Te  Deum,  which  is  the  Latin  form  of  the  more  familiar 
Praise  God ,  from  Whom  all  Blessings  Flow.  If  we  have  no  record  of  the  exact  version 
of  this  old  chant,  we  have  at  least  records  of  the  Gregorian  Plain  Song,  showing  the 
style  in  which  it  was  sung.  (Hear  Kyrie  Eleison ,  record  71001.)  So  it  was  that  the 
priest  walked  hand  in  hand  with  the  explorer,  the  crucifix  with  the  sword,  and  thus  the 
music  of  the  church  ritual  of  the  Old  World  was  brought  into  the  forests  and  desert  fast¬ 
nesses  of  the  New  World. 

Someone  has  called  the  poem,  Columbus ,  by  Joaquin  Miller,  “the  finest  poem  writ¬ 
ten  by  an  American.”  In  his  cottage  on  the  heights  above  Oakland,  California,  near 
the  spot  where  John  C.  Fremont  first  saw  the  Golden  Gate,  Miller  penned  the  virile 
poem  of  the  great  navigator  with  its  lesson  of  “Sail  On,  and  On,  and  On!”  Here  is 
a  poem  which  should  be  known  and  recited  by  every  American  boy  and  girl,  and  is  well 
given  on  record  35653-A. 

There  is  considerable  romance  surrounding  the  expeditions  of  the  Spanish  explorers 
and  their  relations  with  the  Indians.  Coronado,  setting  out  from  Mexico  in  1 340, 
discovered  the  Grand  Canyon  of  Colorado,  and  the  tribes  of  the  Indians  of  the  Southwest. 
The  Spaniards  had  been  searching  for  the  fabled  “Seven  Cities  of  Cibola,”  which  were 
supposed  to  be  filled  with  gold  and  silver.  They  discovered  seven  cities  but  they  were 
the  communal  dwellings  of  the  Zuni  Indians,  built  of  adobe  like  terraced  pyramids. 
The  Spaniards  called  the  Indians  who  lived  in  these  dwellings  “Pueblo  Indians,” 
from  the  Spanish  word  meaning  “people”  or  “community.”  These  primitive  tribes 
live  to-day  very  much  the  same  as  they  did  at  the  time  of  their  discovery  by  the  Spaniards. 
Their  life  is  largely  pastoral  in  character.  When  the  Spaniards  introduced  sheep  into 
the  Pueblo  country,  the  Indians  learned  to  weave  blankets  of  wool.  They  are  also  skilled 
in  the  making  of  pottery  and  baskets  and  in  the  arts  of  the  silversmith.  Their  traditions 
and  social  customs  have  not  changed.  They  use  primitive  instruments  like  the  drum 
and  rattle  for  the  dances,  and  the  flute,  made  of  willow  or  cedar,  for  love  calls.  Early 


THE  VICTROLA  IN  AMERICANIZATION 


21 


in  the  morning  when  the  Pueblo  maiden  goes 
to  the  spring  for  water,  she  often  hears  the  song 
especially  composed  for  her  by  some  admirer 
who  is  hidden  in  the  brush.  If  he  is  not  an 
expert  singer,  his  flute  answers  the  same  pur¬ 
pose.  Interesting  examples  of  genuine  primi¬ 
tive  Indian  songs  are  to  be  found  in  the  Gamb¬ 
lers'  Song  (record  17635),  Grass  Dance,  White 
Dog  Song,  and  Medicine  Song  (all  on  record 
17611),  sung  by  members  of  the  Blackfeet 
Tribe  from  Glacier  National  Park.  Songs 
of  the  Navajo  Indians  are  given  by  Geoffrey 
O’Hara,  who  spent  several  years  studying  the 
the  songs  of  these  Southern  Indians  (record 
17635). 


Thurlow  Lieurance  has  harmonized  the 
primitive  songs  of  these  people  so  that  they 
have  become  attuned  to  our  civilized  ears. 

The  Indians  have  songs  which  the  mother 
sings  to  her  babe  hung  on  the  tree-bough  and 
rocked  by  the  wind,  and  songs  for  many  other 
occasions  and  religious  ceremonies.  The 
language  of  the  Indians,  like  his  life  and  mode 
of  thinking,  is  far  more  spiritual  than  our 

own.  Much  interest  is  attached  to  the  songs  Two  Grass  Dancers 

which  have  been  collected  by  Mr.  Lieurance,  Blackfeet  Tribe 

and  in  connection  with  them  it  is  interesting 

to  bring  out  the  main  facts  in  the  history,  art,  and  environment  of  each  tribe.  Aooah 
or  Pretty  Leaf  is  a  beautiful  Pueblo  maiden  to  whom  many  songs  have  been  composed 
by  Indian  admirers  One  of  these  songs  was  taken  down  in  notation  by  Mr.  Lieurance 
just  as  he  heard  it  played  on  the  flute  by  Deer  of  the  Yellow  Willow.  The  text  is  here 
translated  from  the  Pueblo  dialect — notice  the  real  flute  call  (record  18418). 


I’m  longing  for  Aooah, 

Like  fawn,  fairest  of  the  maids  in  Red  willow 
Land 

Lithe  as  a  leaflet,  from  aspen  boughs. 

Smiles  like  sunshine  from  blue  summer  skies. 


I’m  longing  for  Aooah, 

Like  fawn,  cheeks  like  the  sunset. 
Eyes  of  gold,  “My  Leaf,” 

With  my  flute  I  call  to  thee. 
Calling  for  Aooah  my  golden  leaf. 


Copyright,  1913,  by  Theo.  Presser  Co.  Used  by  permission. 


Papupooh  or  Deer  Flower  is  another  love  song  of  the  Pueblos  which  preserves  an 
authentic  Pueblo  flute  call  (record  18444). 


The  Navajos,  who  also  inhabit  the  desert  of  the  Southwest,  are  not  related  to  the 
Pueblos.  Until  recent  years  they  were  roving  tribes.  They  learned  the  art  of  weaving 
blankets  from  the  Pueblo  Indians,  and  have  attained  so  much  skill  in  this  work  that 
the  Navajo  blankets  are  famous  the  world  over.  One  of  the  most  interesting  songs  of  Mr. 
Lieurance  is  Her  Blanket  in  which  a  Navajo  melody  is  preserved  in  the  piano  accompani¬ 
ment.  This  song  describes  the  custom  of  the  Navajos  to  weave  in  their  blankets  various 
figures  and  designs  which  have  ceremonial  meanings.  Even  to-day  the  grandmother, 
before  she  dies,  weaves  in  her  blanket  her  joys  and  sorrows  and  information  about  herself 
and  her  family.  The  text  of  this  song  is  the  exact  translation  of  the  Navajo  dialect. 
It  is  supposed  to  be  sung  by  the  aged  blanket  weaver  herself  (record  18418.) 


22 


THE  VICTROLA  IN  AMERICANIZATION 


Tears  for  my  heart? 

Prayers  for  my  soul? 

My  tears  are  old. 

My  prayers  for  naught. 

My  fate  I  weave  with  shuttle  old 
Here  to  remain. 

For  e’er  and  e’er. 

Copyright,  1917,  by  Theodore  Presser 


My  life  is  written. 
Scarlet  and  black 
Here  to  remain. 

For  e’er  and  e’er. 

My  love  has  flown 
My  tears  are  old 
The  land  of  ghosts. 
Calls  for  my  soul. 

Co.  Used  by  permission. 


It  is  interesting  to  compare  this  text  with  the  following  poem  on  the  Navajo  Blanket 
by  Edwin  L.  Sabin: 


Out  in  the  land  of  little  rain; 

Of  cactus-rift  and  canyon  plain. 

An  Indian  woman,  short  and  swart. 
This  blanket  wove  with  patient  art; 
And  day  to  day,  through  all  the  year. 
Before  her  loom,  by  patterns  queer. 
She  stolidly  a  story  told, 

A  legend  of  her  people,  old. 


With  thread  on  thread  and  line  on  line. 
She  wrought  each  curious  design. 

The  symbol  of  the  day  and  night. 

Of  desert  dark  and  mountain  height. 

Of  journey  long  and  storm  beset. 

Of  village  passed  and  dangers  met, 

Of  wind  and  season,  cold  and  heat. 

Of  famine  harsh  and  plenty  sweet. 


Now  in  this  pale-faced  home  it  lies, 

’Neath  careless,  unsuspecting  eyes. 

Which  never  read  the  tale  that  runs 
A  course  of  ancient,  mystic  suns. 

To  us,  ’tis  simply  many-hued. 

Of  figures  barbarous  and  rude; 

Appeals  in  vain  its  pictured  lore; 

An  Indian  blanket — nothing  more. 

— From  The  Nacajos  by  Oscar  H.  Lipp. 
Used  by  permission  of  Wm.  Harvey  Miner  Co.,  Inc. 


Leaving  this  interesting  topic  of  the  Indians  of  the  Southwest  desert,  we  return 
to  the  early  colonists  of  America.  Spanish  civilization  extended  from  Mexico  to  Cali¬ 
fornia,  and  in  the  path  of  Father  Junipero  Serra  there  sprang  up  a  chain  of  missions 
which  still  add  to  the  picturesqueness  of  the  California  coast.  As  a  reminder  of  that 
early  Spanish  influence  we  have  Mrs.  Norton’s  famous  song  Juanita  with  its  Spanish 
melody  (records  17933  and  64812).  Victor  Herbert  has  chosen  California  under  the 
old  Spanish  regime  in  the  year  1820,  as  a  setting  for  his  opera  Natoma.  (Hear  records 
70049,  74274.) 

The  French  explored  Canada  and  their  missionaries  passed  on  down  the  Mississippi 
to  New  Orleans.  In  the  St.  Lawrence  region  the  influence  of  the  mother  country  is 
still  apparent.  Even  if  we  had  no  poets  such  as  William  Henry  Drummond  to  chronicle 
the  life  of  the  “Habitant”  and  the  “Voyageur”  we  should  still  have  the  charming  French- 
Canadian  songs  so  typical  of  this  region.  (Records  693 1  1 ,  69439,  63398.)  In 
Louisiana  and  the  Antilles,  the  French  came  in  contact  with  the  Spanish,  and  the  Creoles 
became  a  leading  caste.  It  has  been  pointed  out  that  the  Creole  music  is  largely  French 
and  Spanish  melody  superimposed  on  African  rhythm.  America’s  first  virtuoso  pianist 
was  a  gifted  composer,  Gottschalk,  a  Creole  of  New  Orleans.  Gottschalk  has  left  us  a 
number  of  Creole  melodies  in  his  piano  compositions.  In  his  Pasquinade  he  imitates 
the  habit  of  the  Creoles  of  lampooning  in  song  (record  45050-A). 

The  defeat  of  the  Spanish  Armada  in  1  388  crushed  the  sea  power  of  Spain  and 
opened  the  sea-board  of  the  Atlantic  coast  fox-the  colonization  by  the  English.  It  was 
the  Cavaliers,  supported  by  Sir  Walter  Raleigh,  former  favorite  of  Queen  Elizabeth, 
who  founded  the  colony  of  Jamestown,  Virginia,  in  1 607.  They  brought  with  them  the 
old  country  dances  of  Elizabethan  times,  including  Scllenger’s  Round  and  Gathering 
Peascods  (record  18010),  as  well  as  many  ballads  of  the  same  age.  Hundreds  of  these 
old-time  ballads  have  been  preserved  intact  by  the  descendants  of  these  first  settlers 
who  have  lived  for  years  in  the  isolated  mountains  of  the  Virginias,  the  Carolinas,  Ken¬ 
tucky,  and  Tennessee.  .) 


THE  VICTROLA  IN  AMERICANIZATION 


23 


To  Plymouth  Bay  came  the  Mayflower  and  the  Puritans  in  1620.  Their  religious 
scruples  forbade  the  use  of  the  Cavalier  tunes,  but  the  old  Bay  Psalm  Book  has  preserved 
a  number  of  the  hymn  tunes  sung  in  unison  by  them  in  their  worship  (record  17646). 
Their  rules  also  forbade  the  use  of  musical  instruments,  but  later  the  ’cello  was  admitted 
to  their  churches. 


Puritans  Going  to  Church 


No  doubt  the  Swedes,  who  colonized  Delaware,  brought  with  them  the  musical  tra¬ 
ditions  and  folk  dances  of  their  country,  and  the  same  may  be  said  of  the  Dutch,  who 
founded  the  colony  of  New  Amsterdam.  (Hear  Dutch  Folk  Songs,  record  69772.) 

The  Moravian  Brethren  emigrated  from  Germany  to  this  country  in  1741,  and  set¬ 
tled  in  Bethlehem,  Pennsylvania,  and  other  places.  To  the  Moravians  we  owe  the 
introduction  of  the  music  of  Bach  in  America.  In  Bethlehem,  annual  Bach  festivals  are 
still  given.  Early  every  Easter  morning,  the  trombone  choir  of  the  Moravian  Congre¬ 
gation  ascends  the  tower  of  the  church  and  plays  old-time  chorales,  such  as  the  one  given 
in  the  ensemble  on  record  33671 -A. 

Religion  played  a  very  great  part  in  the  foundation  of  American  colonies,  and  it 
is  quite  natural  that  nearly  all  music  centered  about  the  church  service.  American 
journeys  made  by  the  Westleys  and  the  missionary  labors  of  the  Moravians  and  others 
did  much  to  disseminate  the  love  of  singing. 

By  the  time  of  the  French  and  Indian  War,  musical  concerts  and  singing  societies 
had  become  established  in  many  cities,  foremost  of  which  was  Charleston,  South  Carolina, 
Boston,  Massachusetts,  and  New  York  City.  Organs  were  imported  before  the  year  1  700, 
and  one  was  built  in  America  for  Trinity  Church,  New  York,  in  1  743.  Violins,  ’cellos, 
double-basses,  flutes,  and  oboes  were  in  use  as  early  as  1713.  These  instruments  were 
played  upon,  and  lessons  were  given  on  them  by  English  and  French  musicians  and 
dancing  masters. 

It  is  said  that  the  song  Yankee  Doodle  (record  17383)  was  first  adopted  by  the 
American  colonial  troops  during  the  French  and  Indian  War.  When  the  American  troops 
of  the  Braddock  expedition  asked  for  an  appropriate  march,  a  British  army  surgeon 
gave  them  the  words  and  tune  of  this  old  song,  whose  origin  is  somewhat  clouded  in  ob¬ 
scurity.  This  tune  has  been  claimed  as  a  Dutch  harvesters’  song,  an  old  Spanish  dance 
of  Biscay,  a  Hungarian  melody,  an  old  English  country  dance,  while  some  trace  it  to  an 
old  song  used  by  the  Cavaliers  to  ridicule  Oliver  Cromwell  and  his  “Roundheads.” 


24 


THE  VICTROLA  IN  AMERICANIZATION 


It  has  been  identified  as  an  English  dance  tune,  Kitty  Fisher  s  Jig,  and  also  as  the  tune 
to  which  the  nursery  rhyme,  Lucy  Locket  Lost  Her  Pocket  was  sung.  This  tune  was  used 
by  the  trained  British  troops  to  deride  the  untrained  colonial  troops  of  the  New  England 
States,  and  later  turned  in  derision  against  the  British. 

The  air  was  retained  by  the  Continental  troops  in  the  Revolutionary  War.  It 
inspired  the  Minute  Men  at  Lexington  and  Concord  and  Bunker  Hill.  It  was  heard  at 
the  surrender  of  Burgoyne  at  Saratoga,  and  Lafayette  requested  that  it  be  played  at  the 
surrender  of  Cornwallis  at  Yorktown.  Whatever  its  early  history  may  have  been,  the 
tune  was  adopted  by  the  American  troops  as  their  own,  and  as  a  national  march  tune 
became  known  as  the  Battle  of  Lexington  March.  The  countless  verses  which  were  sung 
in  the  theatres  and  camps  at  that  time  are  mere  jargon,  but  the  tune  itself  must  be  accorded 
a  place  of  honor  among  our  national  airs. 

Two  poems  which  commemorate  leading  events  in  the  Revolution  may  here  be 
mentioned.  One  is  Longfellow’s  Paul  Revere  s  Ride *  (record  35555-A).  Another,  The 
Rising  of  ’76*  (record  3333 5-B)  relates  in  a  dramatic  manner  the  patriotism  of  Pastor 
Muhlenberg,  who  left  his  Lutheran  pulpit  in  Woodstock,  West  Virginia,  to  lead  his 
regiment  as  Colonel  during  the  period  of  the  war.  Of  similar  interest  in  the  study  of 
this  period  are  the  readings  of  Patrick.  Henry’s  Speech *  (record  35377),  Declaration 
of  Independence*  (record  35291),  Washington’s  Farewell  Address*  (record  17371). 

During  the  administration  of  John  Adams,  there  was  written  the  first  genuine 
American  patriotic  song,  Hail  Columbia  (records  17579,  17581).  This  is  a  patriotic 

song  which  is  truly  Ameri¬ 
can  in  both  words  and 
music.  The  music  was 
written  by  Professor  Phile 
as  a  march  in  honor  of 
President  Washington  in 
1  789,  and  played  on  his 
journey  to  his  inaugura¬ 
tion  in  New  York.  The 
present  words  were  written 
over  one  hundred  and 
twenty  years  ago  by  Jo¬ 
seph  Hopkinson,  of  Phila¬ 
delphia,  and,  as  adapted 
to  the  old  tune  of  the 
President’s  march,  were 
first  sung  by  Gilbert  Fox, 
an  actor,  in  the  old 
Chestnut  Street  Opera 
House,  opposite  Independ¬ 
ence  Hall,  on  April  25,1  798.  A  bronze  tablet  now  commemorates  the  event.  The  pew 
of  Judge  Hopkinson,  and  his  father,  who  was  clerk  of  the  Continental  Congress,"  is  still 
pointed  out  in  historic  Christ  Church,  on  Second  Street,  Philadelphia. 

At  that  time  England  and  France  were  at  war,  and  frequent  violations  of  American 
rights  had  occurred  on  the  sea.  It  was  feared  that  this  country  would  become  involved 
in  the  struggle,  and,  as  a  result  of  the  widespread  feeling  of  resentment,  the  spirit  of 
patriotism  ran  high.  The  poem  was  noble  and  dignified,  and  touched  the  popular  note 
with  its  appeal : 

Immortal  Patriots!  Rise  once  more. 

Defend  your  rights,  defend  your  shore!  etc. 

The  War  of  1812  brought  forth  the  next  great  national  utterance  in  the  form  of 
a  patriotic  song,  The  Star-Spangled  Banner  { record  17579  or  17581).  The  British  army 
and  fleet  had  burned  the  city  of  Washington  and  were  preparing  to  attack  Fort  McHenry, 
the  main  fortification  of  Baltimore.  Francis  Scott  Key,  a  young  lawyer  of  Baltimore, 

*NOTE:  Such  records  as  these  are  splendid  examples  of  English  diction  and  are  valuable 
models  for  the  foreign-born  student  of  the  English  language  to  imitate. 


THE  VICTROLA  IN  AMERICANIZATION 


25 


set  out  with  a  friend  in  a  small  boat  to  the  British  flag-ship  to  effect  the  release  of  a  doctor 
who  was  detained  by  the  British  as  a  prisoner  of  war.  His  visit  to  the  British  Admiral 
proved  very  untimely,  as  the  fleet  was  just  about  to  begin  the  attack.  Key  and  his 
companion  were  placed  on  their  own  small  boat  under  guard.  All  night  long  they  watched 
the  furious  bombardment,  anxiously  awaiting  the  outcome.  At  last,  “by  the  dawn’s 
early  light’’  Key  saw  the  old  flag  still  floating  triumphantly  over  the  fort.  Taking  a 
pencil  he  hastily  wrote  the  first  stanza  of  his  poem  on  the  back  of  an  envelope.  The 
British  announced  that  the  attack  had  been  a  failure,  and  reembarking  their  troops  they 
permitted  Key  and  his  friends  to  return  to  Baltimore.  The  other  stanzas  of  the  song 
were  written  during  the  return  trip.  When  Key  reached  the  city,  copies  of  the  song 
were  soon  printed  in  the  form  of  handbills,  under  the  title  The  Bombardment  of  Fort 
McHenry.  A  week  later,  a  newspaper,  The  Baltimore  American ,  printed  a  copy  of  the 
poem,  with  the  instructions  that  it  be  sung  to  the  tune,  Anacreon  in  Heaven.  This  was 
the  tune  which  Key  himself  had  chosen  for  his  song.  It  was  an  old  English  drinking  song 
which  had  been  known  in  America  since  1  798,  and  to  which  other  verses  frequently 
had  been  sung.  In  the  regulations  of  the  Army  and  Navy,  this  song  has  been  officially 
recognized  as  the  national  anthem,  and  is  always  played  when  the  colors  are  raised  and 
lowered.  Key  is  buried  in  Frederick,  Maryland,  of  which  town  he  was  a  native. 

The  War  of  1812  was  fought  largely  on  the  sea,  and  it  is  worthy  of  note  that  many 
nautical  ballads  of  a  patriotic  nature  sprang  up  at  that  time,  most  of  which  have  now 
been  entirely  forgotten.  To  mention  only  one  example:  a  ballad  was  written  about 
the  victory  of  Captain  Isaac  Hull  of  the  American  Frigate  Constitution  ( Old  Ironsides) 
over  the  British  ship  Guerriere  off  the  coast  of  New  England.  The  tune  here  used  was  an 
old  English  ballad,  The  Landlady's  Daughter  of  France ,  which  has  come  down  to  us  in  the 
form  of  a  New  England  country  dance  tune,  Hull's  Victory  (record  18367). 

At  the  end  of  the  War  of  1 81 2  we  find  the  beginning  of  a  French  Opera  Company  in 
New  Orleans.  That  city,  with  its  large  French  population,  was  the  first  to  maintain 
opera  as  a  regular  institution.  It  was  only  about  six  years  ago  that  the  old  French 
opera  house  of  New  Orleans  was  discontinued,  and  in  December,  1919,  this  historic  old 
edifice  was  destroyed  by  fire.  New  York  did  not  have  a  grand  opera  season  until  1825, 
when  the  company  of  Manuel  Garcia  opened  at  the  old  Park  Theatre  in  Rossini’s  Barber 
of  Seville.  (Garcia’s  daughter  was  Madam  Malibran,  the  famous  singer,  and  he  himself 
aided  in  the  development  of  the  famous  Jenny  Lind.)  Since  that  time  New  York  has 
been  America’s  leading  home  of  opera.  In  that  city  most  of  the  world's  famous  prima 
donnas  have  made  their  American  debut,  and  the  voices  of  Patti,  Melba,  Sembrich, 
Tettrazini,  and  Galli-Curci  are  preserved  on  Victor  records  for  future  generations. 

In  1827  Lowell  Mason  came  to  Boston  and  became  the  leading  influence  in  American 
church  and  school  music.  Mason  is  best  known  as  the  composer  of  the  hymn  tune,  Nearer 
My  God  to  Thee  (record  1  7848).  His  work  in  establishing  singing  classes  gained  for 
him  the  title  of  “The  Father  of  American  School  Music.’’  One  day  Mason  left  with  a 
friend,  Samuel  Francis  Smith,  then  a  student  at  Andover,  Massachusetts,  a  number  of 
singing  books.  One  of  the  airs  Smith  found  in  this  collection  was  God  Save  the  King, 
the  melody  to  which  he  set  his  new  patriotic  song  America  in  the  year  1832  (records 
17578,  17580). 

Just  about  this  time  the  doctrine  of  State  Rights  and  the  question  of  negro  slavery 
was  being  hotly  discussed.  William  Lloyd  Garrison’s  paper.  The  Liberator,  was  point¬ 
ing  to  the  crime  of  slavery,  and  various  other  forces  were  working  in  the  Northern  States, 
which  were  to  bring  this  great  question  to  a  crisis.  In  1830  took  place  that  famous 
debate  of  Webster  vs.  Hayne,  in  which  Daniel  Webster,  famous  orator,  lawyer,  and  states¬ 
man,  forever  stated  the  position  of  the  Union  against  the  right  of  any  single  State  to 
nullify  an  Act  of  Congress  (record  17371). 

The  slavery  problem  called  attention  to  the  life  of  the  negro  in  the  Southern  plan¬ 
tation.  No  better  expression  of  the  mode  of  thinking,  their  emotional  feeling  and 
religious  aspiration  exists  than  the  “spiritual’’  or  camp-meeting  song,  which  grew  up 
either  from  old  African  traditions,  or  else  was  the  natural  product  of  negro  life  and 


26 


THE  VICTROLA  IN  AMERICANIZATION 


thought  on  the  Southern  plantation.  We  are  exceedingly  fortunate  in  having  many  of 
these  old  songs  preserved  in  record  form  by  the  Tuskegee  Institute  Singers.  Some  of 
the  things  that  we  notice  in  these  songs  are  the  even  rhythm  in  2-4  or  4-4  measure; 
the  weird  harmonies  and  minor  melodies.  Sometimes  only  a  five-tone  scale  is  used. 
The  negroes  are  natural  harmonists — when  one  starts  a  song  others  join  in  the  second, 
third,  or  fourth  part,  a  faculty  which  has  not  come  from  teaching,  or  knowledge  of  harmony, 
but  seems  to  have  been  born  in  this  race  alone. 

To  the  negro,  blindly  groping  for  the  truth,  and  understanding  religious  teachings 
only  imperfectly,  the  presence  of  God,  His  saints,  and  ministering  angels  was  a  vivid 
reality,  and  he  pictured  the  New  Jerusalem  with  all  the  vividness  of  his  imagination. 
Here  is  a  typical  spiritual  which  voices  the  hope  of  the  black  man  in  a  future  life,  I  Want 
to  be  Ready  (record  18446- A  No.  1). 


I  want  to  be  ready, 

I  want  to  be  ready, 

I  want  to  be  ready. 

To  walk  in  Jerusalem  just  like  John! 


Oh,  John!  Oh,  John!  what  do  the  angels  say? 
Walk  in  Jerusalem  just  like  John. 

I’ll  meet  you  there  at  the  promised  day. 
Walk  in  Jerusalem  just  like  John. 


In  Get  on  Board  (record  18446-A  No.  2),  the  Christian  faith  is  likened  to  a  Gospel 
train : 

Get  on  board  little  children.  The  Gospel  train  is  coming. 

Get  on  board  little  children,  I  hear  it  just  at  ten. 

Get  on  board  little  children,  I  hear  the  cog-wheels  running 

There’s  room  for  many  on  board.  And  rattling  through  the  glen. 

I  hear  the  train  a-coming 
A-coming  round  the  curve 
She’s  loosening  all  the  steam  up 
And  straining  every  nerve. 


A  Negro  Camp  Meeting 


In  My  Ways  Cloudy  (record  18447-B  No.  1),  the  religious  enthusiast  expresses  his 
misgivings  in  his  efforts  to  lead  a  Christian  life: 

Oh!  brethren,  my  way,  my  way’s  cloudy,  my  way.  Old  Satan’s  mad,  and  I  am  glad. 

Go  send  them  angels  down.  Send  them  angels  down. 

Oh!  brethren,  my  way,  my  way’s  cloudy,  my  way.  He  missed  the  soul  he  thought  he  had. 
Go  send  them  angels  down.  O  send  them  angels  down. 

I’ll  tell  you  as  I  told  you  before. 

Send  them  angels  down. 

To  the  promised  land  I’m  bound  to  go, 

O  send  them  angels  down 


THE  VICTROLA  IN  AMERICANIZATION 


27 


In  I’ve  Been  ’Bulged  and  I’ve  Been  Scorned  (record  18447-A  No.  1),  the  hard  path 
of  the  sinner  is  again  set  forth,  but  in  this  song,  as  in  the  others,  there  is  expressed  the 
same  comforting  faith  and  hope  in  divine  help  from  above: 

I’ve  been  ’buked  and  I’ve  been  scorned, 

I’ve  been  ’buked  and  I’ve  been  scorned,  Chillun! 

I’ve  been  ’buked  and  I’ve  been  scorned, 

I’ve  been  talked  about,  sho’  as  you’re  born! 

2.  Ain’t  going  a  ’lay  my  ’ligion  down,  etc. 

3.  God’s  been  here,  and  blessed  my  soul,  Chillun,  etc. 

Another  spiritual,  I’m  a  Rolling  (record  18447-B  No.  2),  expresses  the  same  need 
for  heavenly  guidance  and  a  plea  for  human  assistance  in  obtaining  it: 

I’m  a  rolling.  I’m  a  rolling,  O  brother  won’t  you  help  me. 

I’m  a  rolling  thro’  this  unfriendly  world.  O  brother  won’t  you  help  me  to  pray? 

I’m  a  rolling,  I’m  a  rolling,  O  brother  won’t  you  help  me 

Thro’  this  unfriendly  world.  Won’t  you  help  me  in  the  service  of  the  Lord? 

O  preachers,  won’t  you  help  me, 

O  preachers,  won’t  you  help  me  to  pray,  etc. 

The  slave  masters  were  quick  to  see  the  power  of  music  over  the  negro  laborers 
and  encouraged  the  slaves  to  sing  while  at  work  in  the  cotton  fields,  on  the  railroads, 
in  the  lumber  camps,  and  on  the  levees.  The  negroes  were  accustomed  to  sing  these 
songs  to  lighten  their  burden.  One  of  the  songs  which  was  frequently  heard  among 
the  stevedores  in  New  Orleans  was  Deep  River  (records  64687,  74246).  The  rhythm 
of  this  song  was  well  adapted  to  the  swing  of  the  stevedores’  arms  as  they  plied  the  pulley 
ropes  in  hoisting  heavy  bales  of  cotton  to  the  ships’  decks.  It  also  had  the  further  ad¬ 
vantage  of  filling  their  minds  with  religious  fervor,  making  them  forget  their  labors 
in  the  vision  called  up  by  these  words : 

Deep  River,  my  home  is  over  Jordan, 

Deep  River,  I  want  to  cross  over  into  camp  ground.  Lord! 

In  the  ’thirties  and 
’forties  many  events 
were  taking  place  to 
waken  in  the  nation 
a  new  patriotism  and 
sense  of  national  re¬ 
sponsibility.  In  1836 
came  the  massacre  of 
the  Alamo  in  which  the 
heroism  of  its  defend¬ 
ers,  many  of  whom 
were  American-born, 
turned  all  eyes  to  the 
struggle  of  Texas  for 
her  independence.  The 
presidential  campaign 
of  1 840,  in  which 
Harrison  and  Tyler 
were  elected,  began  a 
new  era  in  national 
politics.  This  was 
called  the  “Log  Cabin 
Campaign’’  in  allu¬ 
sion  to  the  log  cabin 
in  which  Harrison  was 
born.  Its  slogan  was 
“Tippicanoe  and  Ty¬ 
ler  too,’’  a  cry  which 


28 


THE  VICTROLA  IN  AMERICANIZATION 


was  frequently  heard  in  song.  President  Harrison  died  and  Vice-President  Tyler 
succeeded  to  the  presidency.  It  was  during  his  term  of  office  that  one  of 
the  most  stirring  of  American  patriotic  songs  was  written.  This  was  Columbia , 
the  Gem  of  the  Ocean,  or  as  it  is  usually  called  The  Red,  White  and  Blue.  Most 
of  the  evidence  gives  the  authorship  of  the  words  and  music  of  this  song  to  Thomas 
k  Becket,  an  English  actor,  at  that  time  living  in  Philadelphia,  and  whose  son  is  still  a 
resident  of  that  city.  In  the  fall  of  1843,  David  T.  Shaw,  an  actor  and  singer,  came 
to  a  Becket,  who  was  at  that  time  playing  at  the  Chestnut  Street  Theatre,  with  the  re¬ 
quest  that  he  should  write  him  a  song  for  a  benefit  performance.  Shaw  produced  some 
words,  but  they  were  found  unsuitable.  Later  both  went  to  the  house  of  a  friend,  where 
a  Becket  wrote  the  first  two  verses  and  composed  the  njelody,  adding  the  third  verse 
at  home  later.  Shaw  afterwards  published  the  song  as'  his  own  work,  giving  credit 
only  for  the  arrangement  to  a  Becket.  This  was  afterwards  adjusted,  and  the  song 
was  published  in  England  with  appropriate  English  words.  Thus  The  Red,  White  and 
Blue,  although  written  by  an  Englishman,  was  given  to  the  world  as  an  American  song, 
and  is  now  regarded  as  our  best  Army  and  Navy  song  (records  1  7378  or  1  7580). 


Three  years  later  war  was  declared  against  Mexico,  and  no  doubt  this  patriotic 
song  of  the  Army  and  Navy  contributed  largely  to  a  strong  national  feeling  which  brought 
that  war  to  a  successful  conclusion  and  led  to  the  acquiring  of  Texas  and  California. 

When  gold  was  discovered  in  California  in  1848,  the  rush  of  pioneers  to  that  State 
and  the  primitive  frontier  life  which  they  led  there,  brought  into  being  a  number  of 
songs  typical  of  the  period.  Among  these  we  may  mention  Sonoma  Slim,  The  Days 
of  *  49  and  Clementine  of  ’  49 .  How  unfortunate  that  the  Victrola  was  not  yet  invented 
to  record  those  songs  of  *49  with  the  same  faithfulness  with  which  Bret  Harte  has  por¬ 
trayed  life  in  the  Western  mining  camps  in  his  short  stories! 

In  the  year  1830  a  musical  event  of  the  greatest  importance  occurred:  the  coming 
of  Jenny  Lind,  the  “Swedish  Nightingale,”  to  America.  At  that  time  the  great  singer 


Jenny  Lind 


THE  VICTROLA  IN  AMERICANIZATION 


29 


was  thirty  years  old.  She  had  forsaken  the  field  of  opera  to  sing  entirely  in  concert. 
Jenny  Lind  not  only  excelled  all  other  singers  of  her  time  in  the  art  of  song,  but  possessed 
great  nobility  of  character.  No  queen  could  have  been  received  with  more  flattering 
cordiality  or  greater  homage.  She  bestowed  her  charities  everywhere  and  when  she  left 
these  shores  after  a  two  years’  tour  she  carried  with  her  a  patchwork  quilt  made  by  the 
school  children  of  America,  which  was  buried  with  her,  according  to  a  request  she  had 
made. 

One  of  the  most  remarkable  incidents  of  Jenny  Lind’s  American  tour  occurred  in 
Washington,  D.  C.,  on  the  night  of  December  17,  1850,  when  official  Washington 
welcomed  the  Queen  of  Song.  Those  were  trying  days  in  the  Capital  City,  during  which 
party  feeling  was  rife  on  account  of  the  Clay  Compromise,  or  “Omnibus  Bill.”  On 
that  evening,  President  Fillmore  occupied  the  presidential  box.  There  were  present 
his  Secretary  of  State,  Daniel  Webster;  Henry  Clay,  orator,  statesman,  and  party-leader; 
and  General  Winfield  Scott,  a  hero  of  the  War  of  1812,  and  later  of  the  Mexican  War. 
After  the  singer  had  finished  a  song  in  which  her  pianist,  Julius  Benedict,  had  set  an 
original  poem,  A  Welcome  to  America,  by  Bayard  Taylor,  the  audience  responded  with  a 
tumult  of  applause.  Waiting  until  the  applause  subsided  the  singer  unexpectedly  turned 
toward  a  little  gray-haired  man  who  sat  on  one  side  of  the  front  of  the  house,  and  began 
the  familiar  heart-song  of  all  lands,  Home,  Sweet  Home.  A  thrill  of  tender  recognition 
ran  through  the  audience  as  it  listened  with  strained  ear  to  the  sympathetic  voice  of  the 
singer ;  then  all  eyes  were  turned  towards  the  gentleman  to  whom  the  song  was  directed. 
As  he  sat  there,  modestly  drinking  in  every  word  of  the  song,  he  was  recognized  as  John 
Howard  Payne,  “The  Homeless  Bard  of  Home.’’  Payne  had  written  the  words  to  this 
immortal  song  twenty-eight  years  before  in  Paris.  Hardly  had  the  last  note  died  when 
the  entire  audience  arose  and  broke  forth  with  unbounded  enthusiasm,  the  kind  of  tribute 
the  human  heart  pays  only  to  that  which  moves  it  most  deeply  and  sincerely.  Even 
the  stolid  Webster  was  moved  to  emotion  by  this  simple  song,  which  was  sung  from  the 
heart  by  this  noble  woman. 

Two  years  later  there  came  to  our  shores  the  distinguished  English  author,  Thack¬ 
eray,  who  delivered  a  series  of  lectures,  just  as  his  other  distinguished  countryman 
and  fellow  writer,  Charles  Dickens,  had  done  ten  years  previously.  In  his  lecture  Charity 
and  Humor,  Thackeray  paid  the  following  tribute  to  American  minstrelsy:  “I  heard  a 
humorous  balladist,  not  long  since,  a  minstrel  with  wool  on  his  head  and  an  ultra-Ethio¬ 
pian  complexion,  who  performed  a  negro  ballad  that,  I  confess,  moistened  these  spectacles 
in  the  most  unexpected  manner.  They  have  gazed  at  dozens  of  tragedy  queens,  dying 
on  the  stage  and  expiring  to  appropriate  blank  verse,  and  I  never  wanted  to  wipe  them. 
They  have  looked  up,  with  deep  respect,  be  it  said,  to  many  scores  of  clergymen  in 
pulpits,  and  without  being  dimmed,  and  behold,  a  vagabond  with  a  corked  face  and 
banjo  sings  a  little  song  and  strikes  a  wild  note  which  sets  the  whole  heart  thrilling 
with  happy  pity!’’ 

This  leads  us  to  a  discussion  of  negro  minstrelsy,  a  form  of  entertainment  which 
originated  in  these  States  about  1 830  and  began  with  Dan  Rice,  who  won  great  popularity 
with  his  “Jim  Crow’’  song.  To  those  days  belong  the  jovial  Arkansas  Traveler  (record 
18331),  and  the  contagious  Old  Zip  Coon  (record  18356).  In  1846  a  new  minstrel 
song,  0  Susanna  took  the  country  by  storm.  The  name  of  its  composer  was  Stephen 
Collins  Foster.  He  was  destined  to  influence  American  music  more  than  any  other 
composer  in  our  history.  Foster  had  received  his  inspiration  for  his  negro  ballads  by 
observing  the  life  and  music  of  the  plantation  negroes.  He  wrote  the  words  of  most  of 
his  songs  in  the  negro  dialect,  and  coupled  them  with  melodies  which  gave  them  adequate 
expression.  Song  after  song  followed  one  another,  and  nearly  all  struck  the  chord  of 
popular  sympathy.  It  will  be  a  long  time  before  Americans  forget  My  Old  Kentucky 
Home,  Come  Where  My  Love  Lies  Dreaming,  or  Swanee  River.  The  last-named  was  written 
for  Christy,  the  head  of  a  minstrel  troupe,  and  first  published  over  his  name.  Foster 
understood  the  devotion  of  the  older  slaves  to  their  masters  and  when  he  penned  such 
songs  as  Massa’s  in  de  Cold,  Cold  Ground  and  Old  Black  Joe,  he  was  painting  plantation 


30 


THE  VICTROLA  IN  AMERICANIZATION 


life  as  he  saw  it.  The  life  of  this  unique  song  writer  was  a  curious  mixture  of  success 
and  failure.  He  died  in  1864,  too  soon  to  realize  the  importance  of  his  songs  in  our 
national  life.  A  medley  of  the  songs  of  Foster  may  be  heard  on  record  33368. 

Another  writer  of  popular  ballads  for  the  early  minstrels  was  James  A.  Bland,  whose 
In  the  Evening  by  the  Moonlight  and  Carry  Me  Back  to  Old  Virginny  are  full  of  sentiment 
and  are  much  admired  in  quartet  form  (records  17303,  18193,  74420).  Another 
song  of  this  period  was  Darling  Nellie  Gray  (records  18193,  64729),  by  B.  R.  Hanby. 
This  song  pictured  in  melancholy  fashion  the  loss  of  Nellie  Gray,  who  was  taken  down 
the  river  to  be  sold  as  a  slave.  It,  together  with  many  of  the  other  plantation  melodies 
just  mentioned,  played  upon  the  popular  sympathies  of  the  public  and  did  much  to 
create  an  anti-slavery  sentiment  among  the  people.  It  is  interesting  to  recall  that 
in  the  year  1  832  Harriet  Beecher  Stowe’s  famous  novel  Uncle  Toms  Cabin  first  made  its 
appearance  in  complete  book  form,  and  its  power  was  only  equalled  by  the  ballads  of 
Stephen  Foster,  James  Bland,  and  B.  R.  Hanby. 

Out  of  the  stress  and  turmoil  of  the  American  Civil  War  were  born  many  spirited 
and  inspiring  patriotic  songs.  Unfortunately,  the  words  of  most  of  these  songs  recall 
former  sectional  bitterness,  and  for  that  reason  are  not  now  universally  used.  This 
last  may  well  be  said  of  Marching  Through  Georgia  (record  64602),  the  famous  marching 
song  of  General  Sherman’s  army,  by  Henry  Clay  Work.  The  rousing  tune  of  this  song 
is  still  universally  popular,  and  is  used  by  the  armies  of  Great  Britain,  France,  Japan, 
and  other  countries. 

Among  the  many  songs  contributed  by  George  Frederick  Root  are  The  Battle  Cry  of 
Freedom  (record  17382),  which  was  inspired  by  President  Lincoln’s  Second  Call  for 
Troops.  Dr.  Root  wrote  the  song  in  Chicago,  where  it  was  first  sung  at  a  patriotic 
rally,  and  soon  taken  up  by  the  entire  North,  and  was  much  used  by  the  Northern  armies 
on  the  march.  Dr.  Root  afterwards  revised  the  words  to  make  them  truly  national,  and 
in  this  version  it  should  be  sung  everywhere  as  a  great  patriotic  rallying  cry. 

The  same  success  greeted  Root’s  Tramp ,  Tramp ,  Tramp,  the  Boys  are  Marching 
(record  64608).  This  song  was  written  to  cheer  the  Union  soldiers  who  were  prisoners  of 
war,  but  its  strains  had  a  cheering  effect  upon  the  entire  Northern  public. 

Far  the  most  famous  of  the  Northern  war  songs  was  the  old  negro  camp-meeting  air 
known  as  John  Brown  s  Body,  which  was  dignified  and  raised  to  the  rank  of  a  national 
air  by  Julia  Ward  Howe’s  famous  poem,  The  Battle  Hymn  of  the  Republic.  The  old 
melody  first  appeared  about  1865  in  a  revival  hymn  book,  its  title  being  Say,  Brothers, 
Will  You  Meet  Us.  This  was  used  in  negro  churches  of  Charlestown,  South  Carolina, 
Richmond,  Virginia,  and  other  places  in  the  South.  Its  success  as  a  marching  song 
inspired  Mrs.  Howe  to  write  her  immortal  poem,  after  she  had  made  a  night  visit  to 
the  Army  of  the  Potomac  during  a  trip  to  Washington.  In  this  hymn  we  have  a  melody 
of  pure  American  origin  with  words  which  typify  the  high  ideals  of  the  Republic  whose 
cause  it  served  so  well.  In  England  and  France  The  Battle  Hymn  of  the  Republic  is 
now  used  as  our  most  representative  national  song.  This  has  been  recorded  on  records 
18145  and  45121, 

Among  the  songs  adopted  by  the  Army  of  the  Confederacy  during  the  Civil  War  were 
The  Bonnie  Blue  Flag  with  words  by  Anne  Chambers  Ketchum  and  music  by  Henry 
McCarthy,  and  Maryland,  My  Maryland  (record  16104)  with  words  by  John  Ryder 
Randall,  a  Baltimore  newspaper  man,  who  set  them  to  the  tune  of  0  Tannenbaum. 

But  far  surpassing  both  of  these  was  the  famous  Dixie  (record  1  7583-B).  Here  is 
another  example  of  a  gay  and  spirited  melody  bringing  success  to  a  song  whose  words 
are  mere  doggerel.  The  composer  of  words  and  music  was  Daniel  Decatur  Emmett,  a 
Northerner  born  in  Ohio  in  1 8 1  5.  Ini  859  Emmett  was  a  member  of  the  Bryant  Minstrel 
Troupe  at  that  time  performing  in  New  York  City.  He  was  requested  one  evening  to 
provide  the  company  with  a  new  “walk-around”  with  a  swing  and  dash  to  it.  The 
familiar  saying  “I  wish  I  was  in  Dixie”  was  often  heard  among  the  actors  of  the  day, 
who,  when  the  cold  of  a  Northern  winter  set  in,  frequently  wished  themselves  back  in 


THE  VICTROLA  IN  AMERICANIZATION 


31 


the  milder  climate  of  the  South,  beyond  the  Mason  and  Dixon  Line.  This  catchy  phrase 
suggested  the  free  and  easy  “hoe  down”  lilt  of  a  negro  plantation  melody.  The  song 
attained  immediate  popularity  in  the  North.  The  following  year  it  was  sung  in  New 
Orleans,  where  its  reception  was  enthusiastic.  A  march  tune  was  needed  for  a  Confed¬ 
erate  parade  and  Dixie  was  tried  with  success.  It  was  afterwards  heard  at  the  inaugura¬ 
tion  of  Jefferson  Davis  in  Montgomery,  Alabama,  and  thereafter  became  known  as  the 
official  song  of  the  Confederacy. 

There  can  be  no  doubt  that  the  universal  popularity  of  Dixie  has  served  to  dispel 
many  of  the  old  animosities  which  sprang  up  during  the  war,  and  has  promoted  cordial 
relations  between  the  North  and  South.  This  effect  may  be  seen  and  heard  whenever 
and  wherever  a  band  or  orchestra  strikes  up  the  rollicking  air — in  a  parade,  in  the  theatre, 
or  in  any  public  gathering.  In  spite  of  the  fact  that  no  high  musical  merit  may  be 
claimed  for  it,  this  lively  air  acts  as  an  invigorating  tonic  to  the  American  of  to-day, 
causing  his  pulse  to  beat  more  quickly,  and  calling  upon  his  rhythmic  nature  to  respond 
in  some  definite  movement.  Dixie ,  by  reason  of  its  Northern  origin  and  its  Southern 
adoption,  stands  as  a  symbol  of  the  union  of  the  people  of  a  great  nation  in  which  all 
traces  of  sectional  division  are  obliterated,  as  typified  in  the  great  National  Army  which 
set  forth  to  rescue  the  world  from  tyranny  and  to  insure  a  world  democracy. 

One  notices  the  scarcity  of  lasting  patriotic  and  familiar  songs  which  grew  up  in 
the  long  period  of  the  ’seventies  and  ’eighties  following  the  Civil  War.  With  the 
exception  of  a  few  ballads  of  the  sentimental  class,*  there  are  few  songs  which  reflect 
the  conditions  of  American  life  during  those  years.  It  is  true  there  were  no  great  national 
events  to  inspire  patriotic  songs  until  the  Spanish-American  War  in  1 898,  and  then 
our  soldiers  curiously  selected  a  ragtime  melody,  There's  a  Hot  Time  in  the  Old  Town 
To-Night ,  as  the  leading  marching  song  (record  18371).  Another  song  of  this  period 
was  Good  Bye ,  Dolly  Gray  (record  1 8339). 

The  Great  War  revealed  a  truth  which  we  have  observed  about  the  songs  of  other 
wars.  Very  often  in  times  of  great  stress  the  nation  and  men  in  arms  turn  to  songs 
of  sentiment,  or  songs  with  trivial  words,  for  relief  from  the  hard  facts  of  warfare.  It 
may  be  said,  however,  that  those  songs  which  exercised  the  greatest  influence  had  a 
good  marching  rhythm,  and  words  which  reflected  the  feelings  of  the  men  who  sang  them. 
Such  is  the  case  with  Keep  the  Home  Fires  Burning  (record  64896),  which  has  achieved 
a  popularity  far  exceeding  that  of  any  other  song: 


They  were  summoned  from  the  hillside. 
They  were  called  in  from  the  glen. 

And  the  country  found  them  ready. 

At  the  stirring  call  of  men. 

Let  no  tears  add  to  their  hardship 
As  the  soldiers  march  along. 

And  although  your  heart  is  breaking. 
Make  it  sing  this  cheery  song. 


.  CHORUS 

Keep  the  home  fires  burning. 
While  your  hearts  are  yearning. 
Though  your  lads  are  far  away 
They  dream  of  home. 

There’s  a  silver  lining 
Through  the  dark  cloud  shining. 
Turn  the  dark  cloud  inside  out, 
Till  the  boys  come  home. 


Copyright,  1915,  by  Ascherberg,  Hopwood  &  Crew,  Ltd.,  and  reprinted  by  special 
permission  of  Chappell  &  Co.,  Ltd.,  New  York  City,  New  York. 


A  close  second  is  the  song  of  sentiment  There's  a  Long ,  Long  Trail  (record  64694). 
This  is  the  composition  of  two  Yale  students,  Stoddard  King,  who  wrote  the  words  and 
Zo  Elliott,  who  wrote  the  music.  The  piece  was  originally  an  attempt  to  write  a  song 
with  a  “heart-throb’’  to  it  for  a  college  event.  When  Mr.  Elliott  was  admitted  to  the 
Plattsburg  Training  Camp,  he  discovered  that  the  tune  found  favor  with  the  men  there. 
No  doubt  the  easy  swing  of  the  rhythm  has  done  much  to  give  this  song  a  firm  place  in 
the  affections  of  our  Army  and  Navy,  but  there  is  considerable  merit  attached  to  the 
words  as  well,  as  may  be  seen  from  the  following: 

*Several  of  the  best  known  of  these  ballads  have  been  recorded  and  reflect  the  type  of 
songs  much  used  in  concerts  of  the  period:  Wait  ’ Till  the  Clouds  Roll  By,  When  You  and  I 
Were  Young  Maggie, Silver  Threads  Among  thcGold,  Whispering  Hope,  Moonlight  on  theLake,  etc. 


32 


THE  VICTROLA  IN  AMERICANIZATION 


Nights  are  growing  very  lonely. 

Days  are  very  long! 

I’m  a  growing  weary  only, 

List’ning  for  your  song. 

Old  remembrances  are  thronging 
Thro’  my  memory. 

Till  it  seems  the  world  is  full  of  dreams 
Just  to  call  you  back  to  me. 


CHORUS 

There’s  a  long,  long  trail  a-winding 
Into  the  land  of  my  dreams, 

Where  the  nightingales  are  singing 
And  the  white  moon  beams; 

There’s  a  long,  long  night  of  waiting 
Until  my  dreams  all  come  true; 

Till  the  day  when  I’ll  be  going  down 
That  long,  long  trail  with  you. 


Copyright  assigned  MCMXV  to  M.  Witmark  &  Sons.  Copyright  MCMXIII  by 
West  &  Co.  International  Copyright  secured.  Used  by  special  permission. 


The  great  struggle  for  democracy  inspired  a  number  of  singable  songs  which  ex¬ 
pressed  the  ideals  for  which  this  nation  strove  in  the  company  of  its  allies.  The  song 
Over  There  (George  M.  Cohan,  records  18333,  43130  and  87294)  was  a  force  to  reckon 
with  in  aiding  recruiting  and  increasing  popular  support  of  the  war  and  its  aims. 

The  songs  of  the  past  have  so  firmly  engraved  themselves  upon  the  hearts  and  minds 
of  the  present  older  generation,  that  the  modern  composer  naturally  approaches  his 
task  of  providing  a  new  national  song  with  considerable  misgivings.  The  custom  has 
sprung  up  of  incorporating  snatches  of  the  well-known  national  songs  into  modern  art 
songs  of  a  patriotic  character.  There  have  been  numerous  attempts  to  carry  out  this 
plan,  notably  by  musical  comedy  composers,  with  occasional  essays  in  the  field  of  serious 
composition.  Some  of  these  attempts  have  met  with  success. 

One  excellent  example  of  this  class  of  song  is  Flag  of  My  Heart ,  a  song  with  words 
by  William  F.  Kirk  and  music  by  Gustave  Ferrari.  In  the  orchestral  accompaniment 
may  be  heard  three  national  airs  which  have  a  strong  power  of  suggestion:  Columbia ,  the 
Gem  of  the  Ocean ,  Dixie ,  and  The  Star-Spangled  Banner.  The  first  is  a  majestic  march 
tune,  which  starts  out  like  the  famous  Marseillaise  and  suggests  the  marching  of  armies, 
fired  by  national  pride  and  patriotism.  The  strains  of  Dixie  recall  the  Civil  War 
struggle  which  called  forth  and  developed  the  supreme  type  of  American  manhood,  the 
heroism  and  suffering  of  whom  was  to  furnish  the  nucleus  for  a  new  birth  of  the  nation. 
(Lincoln  emphasized  this  thought  in  his  famous  Gettysburg  speech.)  In  the  interlude 
following  the  chorus  (as  sung  the  first  time)  the  militant  notes  of  Dixie  given  on  the 
fife  and  drum  mingle  with  the  Assembly  Call  given  by  the  bugle  (hear  record  18324-A), 
while  the  deep  trombones  intone  the  familiar  “0  say,  can  you  see,  by  the  dawn’s  early 
light,”  a  reminder  of  the  Nation’s  two  early  struggles  for  liberty  and  justice. 

This  song  should  prove  an  excellent  one,  not  only  for  singing,  but  for  analysis  as 
here  suggested.  It  is  written  in  the  key  of  D  Major,  and  begins  in  6-8  measure  which 
changes  to  2-4  in  the  chorus.  By  kind  permission  of  the  publishers  we  herewith  quote 
the  words  as  used  in  record  43124. 


FLAG  OF 

Once  more  we  hear  the  bugle  call 
That  rings  from  sea  to  sea. 

While  freedom’s  soldiers  one  and  all 
Stand  forth  for  Liberty, 

In  days  of  old,  our  sons  enrolled 
Where  Freedom’s  Banner  shone. 

And  now,  as  then,  the  Minute  Men 
Will  bow  to  God  alone. 

Columbia’s  sons  have  marched  to  do  or  die 
To  keep  Old  Glory  waving  in  the  sky! 


MY  HEART 

CHORUS 

Red  for  the  blood  of  our  fathers  of  old. 

Shed  over  mountain  and  plain; 

While  for  the  souls  of  the  mothers  untold 
Waiting  and  watching  in  vain; 

Blue  for  the  heavens  that  smile  on  the  free 
Proudly  it  floats  in  the  sky! 

Flag  of  my  heart,  while  the  ages  depart 
May  the  Red,  White  and  Blue  wave  on  high 


Copyright,  1917,  by  T.  B.  Harms  &  Francis,  Day  &  Hunter,  New  York. 


THE  VICTROLA  IN  AMERICANIZATION 


33 


Index  of  Records  Used 


Page 


Aa,  ola,  ola  (63618) _ 7 

Ace  of  Diamonds  (17083) _ 18 

Addio  a  Napoli  (16900) _  7 

Aloha  Oe  (18579) _  7 

America  (17578)  (17580) _ 12,  25 

America  the  Beautiful  (18627) _ 14 

Annie  Laurie  (18177) _ 10 

Aooah  (18418)_ _ 21 

Argentine — National  Hymn  (64648) _ 6 

Arkansas  Traveler  (18331) _ 17,  29 

Astri,  mi  Astri  (63618) _  7 

Au  Clair  de  la  Lune  (72165)__^_ _ 7 

Battle  Cry  of  Freedom  (17582) _ 30 

Battle  Hymn  of  the  Republic  (181 45)  —  8,  30 

Battle  of  Killiecrankie  (17140)__ _  7 

Believe  Me  If  All  Those  Endearing  Young 

Charms  (18145) _  8 

Bergere  Legere  (64223) _  7 

Blackberry  Blossom  (18001) _ 18 

Black  Nag  (18004) _ 18 

Bleking  (17085) _ 18 

Bluff  King  Hal  (Maypole  Dance)  (17087).  18 

Braban^onne,  La  (64558) _ 6 

Brazil — National  Air  (16081) _ 6 

Butterfly,  The  (17845) _ 18 

Campbells  are  Coming,  The  (35513) _ 7 

Canada — National  Airs  (17304) _ 6 

Carrousel  ( 1 7 086) _ 18 

Carry  Me  Back  to  Old  Virginny 

(74420)  (18195) _ 30 

Chelsea  Reach  (18005) _ 18 

Chimes  of  Dunkirk  (17327) _ 18 

Chinese  Airs  (67066) _ 6 

Chorale  (Bach) — Instruments  of  the 

Orchestra  (35671) _ 23 

Circle  No.  1.  The  (18367) _ 17 

Circle  No.  2,  The  (18616) _ 17 

Columbus  (35653) _ 20 

Come  Let  Us  Be  Joyful  (17761) _ 18 

Come  Where  My  Love  Lies  Dreaming 

(64423)  (16663)  (17364) _ 29 

Confess  (18006) _ 18 

Country  Dance  (17160) _ 18 

Crested  Hen  (17159) _ 18 

Cracoviac  ( 1 8002) _ 18 

Cracovienne  Fantastique  (74535) _  7 

Czardas  (17973) _  7 

Cuba — National  Hymn  (62268) _ 6 


Dance  of  Greeting  (17158) _ 18 

Dan  Tucker  (18490)  (18552) _ 17 

Darling  Nelly  Gray  (64729)  (18195) _ 30 

Declaration  of  Independence  (35291) _ 24 

Deep  River  (64687)  (74246) _ 27 

Denmark — National  Air  ( 1 659 1 ) _ 6 

Dixie  (17583) _ 30 

Domovini  (Slovene) _  7 

Drink  to  Me  Only  With  Thine 

Eyes  (18177) _ 10 

Dutch  Folk  Songs  (69772) _ 7.  23 

Farandole  (18368) _ 18 

Fine  Companion,  The  (18007) _ 18 

First  of  May  (17761) _ 18 

Fist  Polka  (17963) _ 18 

Fjallnaspolska  (17085) _ 18 


Page 

Flag  of  My  Heart  (45124) _ 32 

Flamborough  Sword  Dance  (17847) _ 18 

Flow  Gently  Sweet  Afton  (18177) _ 10 

Four  Dance  (17329) _ 18 

Foursome  Reel  (18001) _ 18 

French  Reel  (18600) _ 18 

From  Oles  Polska  (65798) _  7 

Fryksdalspolska  (17510) _ 18 

Funiculi,  Funicula  (17208) _  7 

Gamblers’  Song  (17635) _ 21 

Garibaldi’s  Hymn  (87297) _  7 

Gathering  Peascods  (18010) _ 18,  22 

Get  on  Board  (18446) _ 26 

Goddesses  ( 1  7846) _ 18 

God  Save  the  King  (64717) _  7 

Good-Bye.  Dolly  Gray  (18339) _ 31 

Gotlands — Quadrille  (  1  7328) _ 18 

Grass  Dance  (17611) _ 21 

Greece — National  Hymn  (63510) _  7 

Green  Mountain  Volunteers  (18491) _ 17 

Grimstock  (18004) _ 18 

Gustaf’s  Skal  (17330) _ 18 

Hail  Columbia  (17581) _ 12,  24 

Han  Mass  Aa’n  Lasse  (65931) _  7 

Han  Ole  (65931) _  7 

Harvest  Dance  (35542) _ 18 

Haste  to  the  Wedding  (18491) _ 17 

Hatter,  The  (18000) _ 18 

Hawaii  Ponoi  (18599) _  7 

Haymakers,  .The  (18637) _ 17 

Hej,  Slovane!  (69091) _  6 

Her  Blanket  (18418) _ 21 

Hey  Boys,  Up  We  Go  (18006) _ 18 

Highland  Fling  (17001) _ 18 

Highland  Schottische  (17331) _ 18 

Home,  Sweet  Home  (18145)  (16663) _ 8,  29 

Hop  Mor  Annika  ( 1  733  1) _ 18 

Hornpipe  ( 1  7840) _ 18 

How  D’ye  Do  My  Partner  (17568) _ 18 

Hull’s  Victory  (18367) _ 17,  25 

Hunsdon  House  (18005) _ 18 

Hymno  Invasor  (69417) _ 6 

If  All  the  World  Were  Paper  (18009) _ 18 

Iloa  ja  Surua  (65418) _  7 

I’m  a  Rolling  (18447) _ 27 

Instruments  of  the  Orchestra — 

Chorale  (Bach)  (35671) _ 23 

In  the  Evening  by  the  Moonlight  (17305)_30 

Irish  Jig  (17002) _ 18 

Irish  Lilt  (17331) _ 18 

I  See  You  (17158) _ 18 

I’ve  Been  ’Buked  and  I’ve  Been 

Scorned  (18447) _ 27 

I  Want  to  be  Ready  (18446) _ 26 

Jamaica  (17801) _ 18 

Japan — National  Air  (67066) _  7 

Jenny  Pluck  Pears  (18007) _ 18 

Jolly  is  the  Miller  (17567) _ 18 

Juanita  (17933)  (185 19) _ 11.  22 

Kamarinskai  (17001) _ 18 

Kde  domov  mflj  (69091) _ 6 

Keep  the  Home  Fires  Burning 

(64696)  (17881) _ 31 


34 


THE  VICTROLA  IN  AMERICANIZATION 


INDEX  OF  RECORDS 

Page 

Kirkby  Malzeard  Sword  Dance  ( 1  7847) _ 18 


Klappdans  (17084) _ 18 

Knytnavspolska  ( 1  7963) _ 18 

Krakowiak  (63460) _  7 

Kulldansen  (17330) _ 18 

Kulldansen  No.  2  (17761) _ 18 

Kyrie  Eleison  (71001) _ 20 


Lady  in  the  Dark  (18006) _ 18 

Lady  of  the  Lake  (18336) _ 17 

Lamplighter’s  Hornpipe  (18637) _ 17 

La  Paloma  (74379) _ 20 

Lassie  Dance  (17330) _ 18 

Laudnum  Bunches — Morris  Dance 

(17086) _ 18 

Lithuania — National  ymn _  7 

Little  Man  in  a  Fix  (17963) _ 18 

London  Bridge  (17104) _ . _ 18 

Looby  Loo  (17367) _ 18 

Lott’  ist  Tod  (18368) _ 18 

Love’s  Old  Sweet  Song  (18177) _ 10 

Madelon  (18534) _  7 

Mage  on  a  Cree  (18009) _ 18 

Magnolia  Reel  (18637) _ 17 

Mallebrok  (18003) _ 18 

Maple  Leaf  Forever  (17304) _  6 

Marche  (Old  Sultan’s  regime)  (63963) _ 7 

Marche  Lorraine  (64586) _  7 

Marche  Slave  (35167)  (70050) _  7 

Marching  Through  Georgia  (64602) _ 30 

Maria,  Mari  (88083) _  7 

Marschlek  (67811) _  7 

Maryland,  My  Maryland  (16104) _ 30 

Ma’s  Little  Pigs  (17510) _ 18 

Marseillaise,  La  (18338)  (64693) _  7 

Massa’s  in  de  Cold,  Cold  Ground 

(17305)  (18519) _ 11 

Maypole  Dance  (17087) _ 18 

Mazurka  (64263) _  7 

Medicine  Song  (17611) _ 21 

Merry  Conceit,  The  (18006) _ 18 

Mexico — National  Hymn  (69547) _  7 

Mi  Bandera  (45127) _  7 

Molodka  (70034)t _  7 

Money  Musk  No.  1  (18552) _ 17 

Money  Musk  No.  2  (18552) _ 17 

Montenegro — National  Air  (67067) _  7 

Morning  Star  (18356) _ 17 

Morris  Dance — Laudnum  Bunches 

(17086) _ 18 

Morris  Dances  (17511)  (17382)  (17846) _ 18 

Mother  Moscow  (65147) _  7 

Mulberry  Bush  (171 04) _ 18 

My  Old  Kentucky  Home  (18145) _ 8 

My  Way’s  Cloudy  (18447) _ 26 

Nad  Tatron  sa  blyska -  7 

Natoma  (70049)  (74274) _ 22 

Navajo  Indian  Songs  (17635) _ 21 

Nearer  My  God  to  Thee  (17848) _ 25 

Needle’s  Eye,  The  (17567) _ 17 

New  Castle  (18004) _ 18 

Nigarepolska  ( 1  7327) _ 18 

Norwegian — National  Hymn  (16596) _ 7 

Norwegian  Mountain  March  (171 60) _ 7,  18 

O  Sole  Mio  (87243) _  7 

Oats,  Peas,  Beans  and  Barley  Grow 

(17567) _ 18 


USED — Continued 


Page 

Old  Black  Joe  (18519) _  11 

Old  Dan  Tucker  ( 1 8490) _  17 

Old  Folks  at  Home  (18519) _ 11 

Old  Hungarian  Airs  (17462) _  7 

Old  Mole,  The  (18008) _  _18 

Old  Zip  Coon  (18356) _ 17,  29 

Onward  Christian  Soldiers  (35227) _ 14 

Oranges  and  Lemons  (18008) _ 18 

Ostgotapolska  (17777) _ 18 

Our  Little  Girls  (17510) _ 18 

Over  There  (45130)  (18333)  (87294) _ 32 

Oxdansen  (17003) _ 18 


Papupooh  (18444) _ 21 

Parisian  Polka  (18600) _ 18 

Parson’s  Farewell  ( 1 8009) _ 18 

Pasquinade  (45050) _ 22 

Patrick  Henry’s  Speech  (35377) _ 24 

Paul  Revere’s  Ride  (35555) _ 24 

Pere  de  la  Victoire  (64557) _  7 

Polish  Hymn  (72105) _  7 

Polonaise  Militaire  (74530) _  7 

Pop  Goes  the  Weasel  (171 60) _ 17 

Portland  Fancy  (18616) _ 17 

Portugal — National  Hymn  (67736) _  7 

Pretty  Sister-in-Law,  The  (17962) _ 18 

Psalms  (17646) _ 23 

Reap  the  Flax  (17002) _ 18 

Red.  White  and  Blue,  The  (1  7580) _ 12,  28 

Ribbon  Dance  (17329) _ 18 

Rinnce  Fada  (17840) _ 18 

Rise  Serbians  (67067) _  7 

Rising  of  ’76  (35555) _ 24 

Roumania — National  Air  (69960) _  7 

Round  and  Round  the  Village  (171 04) _ 18 

Row  Well  Ye  Mariners  (17801) _ 18 

Royal  March  (16136) _  7 

Rufty  Tufty  (18009) _ 18 

Rule  Britannia  (16134) _  7 


Sailor’s  Hornpipe  (17840) _ 17,  18 

Santa  Lucia  (88560) _  7 

Scots  Wha’ Hae’(  16961) _  7 

Sellenger’s  Round  (18010) _ 18,  22 

Seven  Jumps  (17777) _ 18 

Seven  Pretty  Girls  (17761) _ 18 

Shepherd’s  Hey  (17328) _ 18 

Shoemaker’s  Dance  (1  7084) _ 18 

Skanska  Quadrille  (35542) _ 18 

Soldier’s  Joy' (18331) _ 17 

Song  of  the  Vikings  (55055) _ 19 

Songs  of  the  Past  No.  15  and  No.  16 

(Medley)  (35568) _ 30 

Speed  the  Plow  ( 1 849 1) _ 17 

Speed  the  Republic  (18627) _ 14 

St.  Patrick’s  Day  (17002) _ 18 

Star-Spangled  Banner  (17581) _ 12,  24 

Stars  of  the  Summer  Night  (18627) _ 14 

Staten  Island  (18637) _ 17 

Swanee  River  (18519) _ 29 

Sweden — National  Airs  (16596) _ 7 

Swedish  Wedding  March  (35159) _  7 

Sweet  Kate  (18004) _ 18 


Tantoli  (17159) _ 18 

Tarantella  (17083) _ 18 

Terve  Suomeni  Maa  (65418) _  7 

Texarkana  (186 16) _ 17 


THE  VICTROLA  IN  AMERICANIZATION 


35 


INDEX  OF  RECORDS  USED-Continued 


Page 


There’s  a  Hot  Time  in  the  Old  Town 

(18371) _ 31 

There’s  a  Long,  Long  Trail  (64694) _ 31 

Three  Dance  (18000) _ 18 

Three  Meet  (17843) _ 18 

Three  Men’s  Reel  (17821) _ 18 

Tideswell  Processional  Morris  Dance 

(17846) _ 18 

Tinker’s  Dance  (1  7962) _ 18 

Tramp,  Tramp,  Tramp,  the  Boys  are 

Marching  (64608) _ 30 

Tu  Habanera  (64182) _ 20 

Turkish  Air  (Reform  regime)  (63058) _ 7 

Vanka  (65153) _  7 

Vingakers  Dance  (18003) _ 18 


Page 


Virginia  Reel  (18552) _ 17 

Viva  la  Pilarica  (45127) _  7 

Volga  Boat  Song  (65147) _  7 


Washington’s  Farewell  Address  (17371) _ 24 

Wearing  of  the  Green  (64258) _  7 

Webster’s  Reply  to  Hayne  (17371) _ 25 

Weaving  Dance  (18002) _ 18 

White  Cockade  (18490) _ 17 

White  Dog  Song  (1761  1) _ 21 

Will  Ye  No  Come  Back  (17140) _  7 


Yankee  Doodle  (17583). _ 23 

Young  America  Hornpipe  (18616) _ 17 


Numerical  List  of  Records  Used 


16081 

17581 

18339 

45151 

67066 

16104 

17582 

18356 

55055 

67067 

16134 

17583 

18367 

67736 

16136 

17611 

18368 

62268 

67811 

16591 

17635 

18371 

16596 

17646 

18418 

63058 

69091 

16663 

17761 

18444 

63153 

69311 

16900 

17777 

18446 

63398 

69417 

16961 

17801 

18447 

63460 

69439 

17840 

18490 

63510 

69547 

17001 

17845 

18491 

63618 

69772 

17002 

17846 

18508 

63963 

69960 

17083 

17847 

18519 

17084 

17848 

18534 

64182 

70034 

17085 

17933 

18599 

64223 

70049 

17086 

17962 

18600 

64258 

70050 

17104 

17963 

18616 

64263 

17140 

17973 

18627 

64423 

71001 

17158 

18637 

64557 

17159 

18000 

64558 

72105 

17160 

18001 

35159 

64586 

72165 

17208 

18002 

35167 

64602 

17304 

18003 

35291 

64608 

74246 

17305 

18004 

35377 

64648 

74274 

17328 

18005 

35513 

64687 

74379 

17329 

18006 

35542 

64693 

74420 

17330 

18007 

35555 

64694 

74530 

17331 

18008 

35568 

64717 

74535 

17364 

18009 

35653 

64729 

17371 

18010 

35671 

64812  - 

87243 

17462 

18145 

64896 

87294 

17510 

18177 

45050 

87297 

17567 

18195 

45121 

65147 

17568 

18324 

45124 

65418 

88083 

17578 

18331 

45127 

65798 

88560 

17579 

18333 

45130 

65931 

17580 

18338 

36 


THE  VICTROLA  IN  AMERICANIZATION 


The  Victor  Course  in  Music  History  and  Appreciation 

“What  We  Hear  in  Music,”  by  Anne  Shaw  Faulkner,  furnishes  the  most  complete  course 
ever  offered  for  the  intelligent  study  of  music. 

It  consists  of  120  lessons,  subdivided  into  four  parts  of  30  lessons  each,  as  follows: 

1.  Learning  to  Listen:  Nationality  in  Music. 

2.  The  History  of  Music. 

3.  The  Orchestra:  The  Development  of  Instrumental  Music. 

4.  The  Opera  and  Oratorio. 

Each  lesson  is  illustrated  with  Victor  records,  and  every  record  used  is  analyzed.  The 
first  part  is  particularly  valuable  for  work  in  Americanization. 

This  course  of  study  is  being  made  the  basis  of  “Appreciation”  work  in  many  leading 
High  and  Normal  Schools,  Colleges  and  Music  Conservatories,  and  is  given  credits,  both 
in  the  local  schedule  and  in  entrance  requirements. 


The  Victrola  Book  of  the  Opera 

is  the  most  valuable  aid  to  the  study  of  Opera.  It  gives  the  story  of  over  one  hundred  operas, 
illustrated  by  Victor  records,  each  set  in  proper  order  of  scene  and  act.  The  book  is  profusely 
illustrated,  giving  scenes  from  most  of  the  operas  now  produced. 


Pan  and  His  Pipes,  and  Other  Tales  for  Children,  by 
Katherine  D.  Cather 

Ten  stories  of  Music  in  Myth  and  History.  A  suggestive  list  of  Victor  records  illustrates 
each  story.  84  pages.  (Illustrated.) 


The  Instruments  of  the  Orchestra  by  Sight,  Sound 

and  Story 

The  Victor  Company  has  issued  a  comprehensive  set  of  eighteen  charts  (14  x  22),  showing 
each  instrument  in  its  natural  color;  and  in  an  accompanying  booklet  is  given  a  full  descrip¬ 
tion  of  the  instrument,  its  origin,  history,  development,  and  uses  by  composers.  Special 
Victor  records  (Nos.  35670  and  35671  or  35236  and  35237)  give  the  exact  reproduction  of 
the  sound  and  tone  color  of  each  instrument — all  three  units  together  offering  for  the  first 
time  complete  presentation  of  the  instruments  “by  sight,  sound,  and  story.” 


For  further  information  consult  any  Victor  Dealer  or  write  to  the 
EDUCATIONAL  DEPARTMENT 
Victor  Talking  Machine  Company 
Camden,  New  Jersey,  U.  S.  A. 


THE  VICTROLA  IN  AMERICANIZATION 


37 


The  Banner  of  Liberty,  by  F.  A.  Boggess 

Directly  bearing  upon  the  subject  of  Americanization  is  a  patriotic  pageant-drama  by 
F.  A.  Boggess  entitled  “The  Banner  of  Liberty.” 

This  pageant-drama  with  its  musical  setting  is  beautifully  poetic  in  sentiment  and  effect 
and  offers  opportunity  for  the  striking  use  of  many  Victor  records. 

Schools,  churches,  clubs,  lodges,  community  centers,  or  other  organizations  desiring 
to  produce  this  pageant-drama  should  communicate  with  the  author,  F.  A.  Boggess,  Boulder, 
Colorado,  for  full  description  and  arrangements  for  production. 

OTT191 


Booklets  Published  by  the  Victor  Educational  Department 
for  Free  Distribution  to  Teachers  and  Supervisors 


A  Graded  List  of  Records  for  Home  and  School 

This  booklet  contains  a  list  of  nearly  one  thousand  Victor  records,  with  explanatory  notes 
classified  according  to  their  use  in  various  grades.  280  pages.  (Illustrated.) 


The  Victrola  in  Physical  Education,  Recreation  and  Play 

A  complete  list  of  Victor  records  used  for  Folk  Dancing,  Calisthenics,  Marching  and 
interpretative  Dancing.  56  pages.  (Illustrated.) 


The  Victrola  in  Rural  Schools 

This  booklet  is  rich  in  record  material  for  use  in  rural  schools  and  communities.  109 
pages.  (With  Illustrations  and  Notes.) 


For  further  information  consult  any  Victor  Dealer  or  write  to  the 
EDUCATIONAL  DEPARTMENT 
Victor  Talking  Machine  Company 
Camden,  New  Jersey,  U.  S.  A. 


38 


THE  VICTROLA  IN  AMERICANIZATION 


Victrola  XXV— Special 


In  this  instrument  is  combined  every  strong  feature  that  particularly  fits  it  for 
every  requirement  of  Americanization,  community,  social  center,  play-ground,  and 
school  work.  It  is  complete  with  its  own  stand,  has  a  lid  (with  lock  and  key),  is  equipped 
with  No.  3 1  Oak  horn,  which  is  removable  and  may  be  placed  underneath  when  not  in 
use.  Being  light,  it  is  easily  carried  up  and  down  stairs,  out  on  the  playground,  or 
wherever  it  is  needed. 

For  further  information,  consult  any  Victor  Dealer,  or  write  to  the 


Educational  Department 
Victor  Talking  Machine  Company 
Camden,  New  Jersey,  U.  S.  A. 


THE  VICTROLA  IN  AMERICANIZATION 


I  Am  Music 

Servant  and  master  am  I ;  servant  of  those  dead,  and  master  of  those  living;.  Through 
ne  spirits  immortal  speak  the  message  that  makes  the  world  weep,  and  laugh,  and  wonder, 
ind  worship. 

I  tell  the  story  of  love,  the  story  of  hate,  the  story  that  saves  and  the  story  that 
damns.  I  am.  the  incense  upon  which  prayers  float  to  Heaven.  I  am  the  smoke  which 
palls  over  the  field  of  battle  where  men  lie  dying  with  me  on  their  lips. 

I  am  close  to  the  marriage  altar,  and  when  the  graves  open  I  stand  nearby.  I  call 
the  wanderer  home,  I  rescue  the  soul  from  the  depths,  I  open  the  lips  of  lovers,  and  through 
me  the  dead  whisper  to  the  living. 

One  I  serve  as  I  serve  all ;  and  the  king  I  make  my  slave  as  easily  as  I  subject  his 
slave.  I  speak  through  the  birds  of  the  air,  the  insects  of  the  field,  the  crash  of  waters 
on  rock-ribbed  shores,  the  sighing  of  wind  in  the  trees,  and  I  am  even  heard  by  the  soul 
thcit  knows  me  in  the  clatter  of  wheels  on  city  streets. 

I  know  no  brother,  yet  all  men  are  my  brothers ;  I  am  the  father  of  the  best  that  is 
in  them,  and  they  are  fathers  of  the  best  that  is  in  me;  I  am  of  them,  and  they  are  of  me. 
For  /  am  the  Instrument  of  God.  I  AM  MUSIC. 


— Anonymous. 


Form  No.  4906 
Printed  February 


12,  1920,  Victor  Talking  Machine  Company,  Camden,  N.  J.,  U. 


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